ARCH513 - Integrated Project Design Studio - Emma Meier-Luinenburg FA21 by Cummings School of Architecture

Rome, Italy ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021

EMMA MEIER-LUINENBURG ROBERTO VIOLA-OCHOA ARCH 513 INTEGRATED PROJECT DESIGN FALL 2021

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DOOR OPENING 36"

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ALL WALLS WILL BE 14" AND CLAY BLOCK CONSTRUCTION EDGE OF SLAB

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HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

30 '-5 "

DOOR OPENING 72" DOOR OPENING 36"

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EDGE OF SLAB

DOOR OPENING 36" EDGE OF SLAB

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DOOR OPENING 72"

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STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

DOOR OPENING 36"

SOLID CONCRETE EDGE OF SLAB

EDGE OF SLAB

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222'-0"

68'-4"

DOOR OPENING 36"

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HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

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STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

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HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

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241'-6"

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TABLE OF CONTENT: SITE & CONTEXT REGIONAL CITY SITE

BUILDING NARRATIVE TECHNICAL SOLUTIONS CODE STRUCTURE MECHANICAL

APPENDIX B&W SET OF DRAWINGS RESEARCH PRELIMINARY STUDY

1 SITE AND ITS CONTEXT

As the ancient and modern seat of power in the Mediterranean, the city of Rome has a rich and diverse history spanning millennia. Traces of this deep rooted history are visible today through the city’s multitude of monuments, piazzas, urban systems, and architecture. It is impossible to design in a city such as this without understanding the context in which the city has developed and grown. This research looks beyond aesthetics and design and seeks to understand how factors such as climate, geography, history, and politics shaped both the architecture and the urban fabric surrounding the city and the site. This analysis will help to inform our design and allow us to create a building that is truly connected and integrated into the urban fabric of the area.

ROME, ITALY The country of Italy is located on a boot-shaped peninsula in the middle of the Mediterranean Sea. The mountainous peninsula is divided down the center by the Apennine Mountain Range and protected in the north by the Alps. The rivers flowing from these mountain ranges into the valleys below created areas that were ideal for early settlements. Today’s major cities across Italy, such as Milan, Venice, and Florence, grew from early settlements located along these rivers. Today as in ancient times, roads and various modern means of transportation connect these major cities creating a network through which people, ideas, and goods can travel and spread. These cities established unique cultures that formed the various regions of Italy. Rome is located in the region of Lazio bounded to the East by the Apennine Mountains and to the West by the Tyrrhenian Sea. Even though Lazio has the capital of Italy within it, the region is predominantly agricultural, producing goods such as olives, wine grapes and kiwi. This is due to the area’s Mediterranean climate, consisting of moderate winters and warm/humid summers. Rome, like many other major cities in Italy, was settled around the Tiber River. The river provided the city not only protection from invaders but a means of transportation for goods and people, creating the basis for their economy. The early settlement was located close to the banks of the Tiber river. The river was constantly flooding yet the Romans did not see this as a problem, they celebrated the floods because they understood what the river provided for the settlement. In fact, they created plaques for buildings that survived the flooding. After a while flooding became too much for the city and they constructed walls in order to keep the floods at bay. This ultimately cut all ties to the river for the citizens of Rome. As the city grew people began to fill in the low lying areas in between the 7 hills. These hills acted as the first boundary of Rome with vineyards on the outskirts and Palatine Hill serving as the city center for the area’s scattered inhabitants.

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Highway’s Throughout Italy

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Railway’s Throughout Italy

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Rome

According to ancient Roman Myths, the city of Rome, first known as the Eternal City, was founded on the banks of the Tiber where the twins Romulus and Remus were found by a she-wolf. In reality, Rome was formed around 750 BC when scattered settlements around the Seven Hills of Rome came together. Palatine hill served as the city center where inhabitants created markets, temples, and other civic buildings, turning the water-logged valley into a city. As the city continued to grow, the Romans began to engineer paved roads, reaching in all directions towards far away settlements and lands. The roads allowed merchants and armies to quickly move between cultural and civic centers across the peninsula, elevating Rome’s status as a military power and transportation hub. As Rome continued to grow and prosper, as both a military and economic power, the city became subject to outside attacks and invasions. In order for the city to protect itself and its people, Rome invested heavily in its military and constructed walls as a defensive border around the city. The first set of walls, known as the Servian Wall were constructed in the fourth century BC. Over the next six centuries, the city outgrew the limits of the Servian Wall, rendering the wall useless. The city then constructed the new Aurelian Wall in the late third century AD Which encompassed an area almost three times the size of the previous city limits. Within the new walls, the city was divided into 14 districts called the Rioni. From the third century AD through the medieval era, the urban fabric of Rome remained largely unchanged. The ancient Roman systems, temples, and structures fell into disrepair after the Fall of the Roman Empire. It wasn’t until the eighth century that the papacy came into power. For nearly a milenia, the Pope was the primary religious and civic leader of Rome, responsible for all urban reconstruction projects throughout the city. The largest of these projects happened during the 16th century when for nearly 50 years, several popes, including Pius IV, Pius V and Sixtus V, sought to restore the city of Rome and improve the urban fabric. They ordered ancient roman aqueducts be restored, roads

widened and paved, and public fountains to be installed in piazzas across the city. Pope Sixtus V conceived of a new system of roads that would cut across the existing medieval fabric, connecting major monuments and landmarks around Rome. Many of these roads are still in existence today. After Italy became a unified country in 1861, roughly 300 years after Pope Sixtus V carved new roads through the city, Rome underwent another transformation. The city was named the capital of the new nation, however it’s infrastructure was insufficient to handle the influx of new residents. There was no sewer system, poor circulation, and a lack of housing. Between 1873 and the 1910s, the city completed several master plans which outlined new neighborhoods, a number of which were brought to fruition.

ROME TRANSPORTATION The roads created by Pope Sixtus V are still used today as the primary routes throughout Rome, giving way to nearly every neighborhood while also allowing travel out of the city. Rome has always been a transportation hub for Italy. The main train station, Roma Termini, is located in the midst of the city, creating a landmark for what the city stands for and how it has developed over the years. Almost every neighborhood within Rome has a major landmark that begins to make up the layout of that particular area. These landmarks also help to give Rome its identity,

Highways Throughout Rome

Railway’s Throughout Rome

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Esquilino Monti Celio S.Saba Testaccio Ripa Campitelli S.Angelo Regola Ponte Parione S.Eustachio Pigna Trevi Castro Pretorio Sallustiano Ludovisi Colonna Campo Marzo Pincino Olympic Village Flaminio Della Vittoria Prati Borgo Trastevere

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1. Trervi Fountain 2. Roman Forum 3. Spanish Steps 4. Vatican 5. Villa Giulia 6. Baths of Caracalla 7. Colosseum 8. St. Mary of Angels Martyrs 9. Pantheon 10. Piazza Navona 11. Porta Pinciana 12. Basilica Di Santa Maria Maggiore

Today, Rome spans far beyond the Aurelian Wall and the original 14 Roni. With close to three millennia of growth and history it is not surprising that the urban structure varies between neighborhoods. In the old neighborhoods of Rome, such as Ponte, located within the borders of the Aurelian wall, the streets are extremely narrow and laid out haphazardly, with no discernible pattern. The buildings are unusually shaped and densely packed into the irregular blocks. As is typical with the vernacular architecture of the area, the buildings in this neighborhood are stone structures, rising multiple stories tall with minimal footprints. Neighborhoods that were planned after the unification of Italy, such as Prati and Della Vittoria are much more formal than the older neighborhoods. Unlike Ponte, the Della Vittoria neighborhood is designed in a radial pattern, centered around a piazza. The main streets were designed much wider to accommodate the circulation of traffic (and later automobiles) with banks of trees lining the streets. The architecture, while constructed in a similar manner to the older areas of Rome, is more formal, taking on the characteristics of the neoclassical style. The blocks are taken up almost entirely by large buildings with central courtyards, as opposed to the random collection of buildings in the historic center. The main difference between Della Vittoria and Prati is that the latter was laid out in a grid pattern as opposed to a radial plan. Both neighborhoods are reminiscent of Hussman’s design for Paris. The neighborhoods planned in the beginning of the twentieth century, such as Pinciano, are laid out in the romantic/ picturesque style. The streets in these neighborhoods are wide, curving roads that were designed for automobile traffic and inspired by the rural movement occurring around the world during this period in time. The buildings are multistory apartments that utilize concrete as opposed to the traditional stone construction. Unlike other neighborhoods in Rome, the buildings in areas such as Pinciano are not densely packed, instead they are detached from the other buildings.

Ponte

Della Vittoria

Prati

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GENERAL CLIMATE:

The weather that Rome experiences throughout the year is very mild with summer highs of 80-90 degrees and winters that get down to around 40 degrees. This type of weather leaves Rome with four seasons, Spring, Summer, Fall and Winter. Each of these seasons bring different environmental conditions for the city. All the conditions are generally more mild allowing the architecture within Rome to use specific design elements such as a patio and thinner buildings to help with combating the varying weather conditions. The geographical location puts it under the CSA, Mediterranean Climate, on the Koppen Climate Classification Chart. This classification just means that Rome is susceptible to more dry summer’s and wetter winter’s. With the location near the water the humidity within Rome tends to be higher. This is also something to take into consideration when looking at the architecture and how they begin to combat the weather. It is also important to look into the humidity and the varying weather it is also important to note the movement of air within the city. The wind speed in Rome ranges from a light to gentle breeze according to the Beaufort Scale. What this means for Rome is leaves and twigs will move and there will be a slight rustle of leaves throughout the year. With this slight breeze being nearly year round, the city is able to use differing types of architectural elements such as window placements to help circulate air through the use of patio design. VERNACULAR ARCHITECTURE Vernacular architecture is designed to respond to the local needs of the people and the climate. The climate in Italy, particularly Rome, is hot and humid, especially during the summer months. One way in which the local architecture combats this is by constructing buildings out of stone. The thick stone walls absorb the sun’s energy during the day, keeping the interior of the buildings at a comfortable temperature, and release the stored heat at night when the temperature drops. For this reason, Italians have been constructing their buildings out of

KOPPEN CLIMATE CLASSIFICATION CHART

WEATHER IN ROME

VERNACULAR ARCHITECURE (CONT.) stone for centuries. Modern buildings use this same principle however instead of using stone, they use concrete. Another traditional material used in Italian vernacular architecture is the iconic clay tile. Clay tile roofs are incredibly durable, capable of lasting for over three hundred years. They are also naturally thermal resistant, meaning that they reflect the heat of the sun during the day, preventing the interior of the building from heating up. The way they are configured also adds to their thermal resistance. In the area around Rome, clay roofs use a series of interlocked half round tiles; two on the top and one on the bottom. This configuration allows for a natural air barrier, reducing the amount of heat transferred into the building. Another common, yet simple device used to combat the climate in the region is shutters. In Rome, operable shutters are not only used to prevent water from entering the building, but to control the amount of sun as well. On a warm day, shutters can be closed to filter the amount of light coming into the space, preventing the air from heating up. The way the structures are configured also helps to combat the heat. Many buildings in Rome either have thin profiles or have a courtyard at the center. These building configurations allow for increased cross ventilation through the structure, cooling the space without the need for A/C. Courtyard buildings, or buildings arranged along a narrow street also enjoy the benefits of the “courtyard effect”. During the day, the sun heats the air in the courtyard or narrow street. The warm air rises, causing the cooler air in the interior of the building to rush out, creating a cooling effect. When night falls, and the temperatures drop, the cool air then drops into the courtyard, causing the airflow to move in the opposite direction.

NEIGHBORHOOD The project is located at the edge of two neighborhoods in Rome, the Flaminio neighborhood and the Pinciano neighborhood. The Flaminio neighborhood is named for the Via Flaminia which marks the eastern edge of the area. For centuries, the land along the Via Flaminia was made up of vineyards and farmland. At the turn of the century, after the unification of Italy, the area was laid out and developed as an industrial district just outside of the historic center. The major business in the area was related to the automobile industry until WWI when the plants were converted into weapons manufacturing plants. In recent years, the neighborhood has undergone another transformation, shifting from a center of industry to a center for the arts. Today the area is home to cultural institutions such as the MAXXI museum, Auditorium Parco della Musica, and the Accademia Filarmonica Romana. The accademia is an institution that has been in the area for over a century, bringing together amateurs and professional musicians through their shared love of music.

Important Places Along / Near Via Flaminia

CULTURE Since Rome has been around for centuries it has a very rich culture. THe culture within Rome has changed from century to century and that is seen through how the different neighborhoods have changed. This specific neighborhood along via flaminia has a very interesting culture. Along one side of the street there are what would consist of typical Roman vernacular architecture and what one would think of when they think of coming to the city. While on the other side of the road it is more industrial with a rich street art culture. This street also has a very popular market that became a stop along the road. This market begins to bring a different feel for the space. As of right now the side of the street that is more industrial is full of one story buildings that are either boarded up or worn down. There are also advertisements stuck to the front of the facades. This is adding to the idea of street art and the street as a way to advertise within this area. Another thing to note about the culture is the tram system with these wires that hang above the street. These begin to establish a height over the street almost as if it is its own space. This condition is not specific to this area, it is a system used all throughout the city. The neighborhood is not full of color, the streets seem almost as if they were monochrome. The vibrance within the city comes from the gardens. This creates an interesting vegetation condition for the area.

SITE HISTORY / DEVELOPEMENT The Accademia Filarmonica Romana is located in an incredibly unique part of Rome. The site sits along the Via Flaminia, less than a half mile from the Porta Flaminia, the Aurelian Wall, and Piazza del Popolo. In ancient times, the Via Flaminia was one of the most important roads in Rome, stretching from Piazza Colonna in Rome to Rimini. The route was not only important for trade with cities north of Rome, but also for military campaigns and expansion. Throughout the Roman Empire, emperors, military leaders, and wealthy citizens, took exceptional interest in the road, building temples, bridges, and even tombs at the edge of the street. To have a tomb on the street was considered a high honor. The Via Flaminia retained its importance well into the Renaissance. When dignitaries or nobility visited Rome from the north, they would travel along the Via Flaminia and ceremoniously enter through the Porta Flaminia (Porta Del Popolo). As visitors would often stay the night just outside the gate, the area was the ideal place to build papal villas such as Villa Giulia and eventually Villa Borghese. In the sixteenth century, the area just outside the gate consisted mainly of vineyards and farms owned by wealthy citizens. It was not until Italy was unified in the mid nineteenth century that the area was developed into neighborhoods and middle class housing. The site sits between two of these neighborhoods, Pinciano to the west, which encompasses Villa Giulia and Villa Borghese, and Flaminio to the east, which was named for the ancient road.

ACCADEMIA FILARMONICA ROMANA The Accademia Filarmonica Romana is one of the oldest musical institutions in Italy. This institution was founded in 1821 in the spirit of amateurism. People who received a great musical preparation only for them to play in their living rooms. It was founded by nobles and wealthy bourgeois who were led by Marquis Raffaele Muti Papazzuri. All of these amatuer singers and instrumentalists used this space to put on performances that showcase their talent. After about 3 years the academia received recognition from the Papal state, this led them to change their agreement between private individuals so they could stay a part of the cultural life in Rome. In 1870 the Papal government ordered a reauthorization of the filarmonica, changing their outlook to not be focused on amateurism but rather a more professional institution. With this change the enthusiasm of amatures was only a memory and they began to lack on their financial means. This particular building along via flaminia is used as an administrative headquarters. This is because of the growth of academia. They were able to purchase a theater in the Olympic village which is north of the headquarters. The Accademia Filarmonica Romana the years of the filarmonicas life have been filled with troubles but it has broadened the musical activity and understanding within the accademia, these changes are associated with what was happening in the city at that time. This is a place that holds a lot of history along via flaminia and within the musical community. The accademia not only does performances in theaters but they also do them in the garden that is just behind the building. The layout of the accademia has created almost a courtyard condition for the institution to be able to put on concerts and great an outdoor experience.

This project is an “addition” to the Accademia Filarmonica Romana. We will be using the unused space by the institution to give more space to the accademia. The location of this site is in between the existing Accademia Filarmonica Romana and one story industrial buildings. Across the street there is a garden which creates an interesting condition for when looking into how to deal with climatic issues.

Site

The main way to access the site would be from Via Flaminia, which is one of the main roads within Rome. This street has vehicle access while also having a tram that runs along the street. The train station for people to travel that way is down the road by Piazza Del Popolo. Pedestrians are able to walk up next to the building but this road within Rome is mostly vehicular based rather than being for pedestrians. This site is within an industrial area within Rome that could be developed soon. Taking this into consideration when looking at not focusing too much on the buildings to the south for this reason. These buildings could and probably will change over time which will change how the building receives the sun from the south and the site will be more shaded then it is as of now.

Accademia Filarmonica Romana

The other site condition that should be noted is how the buildings look architecturally. Being that the neighborhood they were built in was built in the 18th century it is important to look into how they used design and materials to uphold the test of time and weather. The site is bound to the North by an 80’ hill filled with vegetation. This hill creates a barrier between our site and Villa Guilia. This hill creates multiple conditions when thinking about the climate by also how the site could be used. Is there a way to use the hill to create an interesting spatial condition? The hill becomes an identity for the site giving it a backdrop that the Accademia puts to use. The importance of the hill and the spaces it creates for the accademia seems important to how they function within the space.

Site Access

Park Across from the Site

SUMMERS IN ROME Summers in Rome consist of consistent 80 degree weather paired with little to no rain. Though there is little to no rain because of the geographical location of Rome the summers are extremely humid. The site that we are looking at will have direct sun at almost all hours, this means we need to take this into consideration when looking at how to approach the site. The sun at its highest point will be hitting the front facade, there will be no relief from the direct beams other than if it is more cloudy. Though the site is generally more vulnerable to the sun, luckily Rome tends to have a slight breeze at all times. The wind direction in the summer predominately comes from the West. Taking advantage of this breeze could be helpful when creating airflow within the site. Architectural solutions to these conditions would be looking at finding a material that can be heated up from the sun throughout the day and used for heat at night when the temperatures begin to drop. As for the wind, window placement and thinking about having a patio for air to flow throughout the space cooling it naturally.

LOCATION:

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Rome, LZ, ITA

41.9° North, 12.483° East, Time Zone from Greenwich 1 ISD-TMYx 162400 WMO Station Number, Elevation 311 ft

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WINTERS IN ROME The winter season for Rome consists of rain and stronger winds, combined with temperatures that get down to 40 degrees. Just as in the summer there will be solar gains for the site with the sunrising southeast of the site and setting in the southwest. Through the winter season the wind predominantly comes from the East. This brings an interesting condition to the site of understanding how the hill along the back of the site begins to move the air. There will be cover from the wind and it will be broken up by the vegetation around the site. The conditions that are currently around the site have are more focused on patio buildings, also their materiality. This area is protected by the vegetation that is within the area. Architectural solutions and thinking about the approach to the site should be more focused on how to use the sun and its orientation and how to protect the courtyard condition that is being created by the existing buildings on the site.

LOCATION:

WIND WHEEL

Latitude/Longitude: Data Source:

Rome, LZ, ITA

41.9° North, 12.483° East, Time ISD-TMYx 162400 WMO Statio

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The vegetation that is more local to our site consists of Cypress and Stone Pine trees. These trees like many others around the area were planted in place of the native vegetation. When looking at the site these will be the trees that line the street in front of the site, Via Flaminia. The trees within the site, like the architecture, help to control the wind that enters these spaces, especially in the winter. Since the Cypress and Stone Pine trees categorize as evergreens their leaves sprout and stay around yearly, but the Mulberry trees being deciduous the leaves fall around the winter time. Around the year our site is protected by the vegetation that emcompasses it. SITE CONTEXT / CONDITIONS The Accademia Filarmonia Romana is located along the edge of Villa Giulia. This leaves the site with an interesting topographic condition. The site is mostly flat but at the back of the site there is about an 80’ hill, leading to the gardens of Villa Giulia. This hill begins to create a border between the Accademia and Villa Giulia. Giving the feeling of disconnect, even though the site used to be used as farmland for the vineyards. It is worth noting that this site is surrounded by local shops and restaurants and also has a bus stop just down the road at Del Popolo, this will give the site a very active street life. Another thing when looking deeper into the context where the site is, the street art culture that is prevalent. There are also advertisements placed along the facade of the building. One half of the street seems more worn down while the other half seems as if it is a completely different vernacular of architecture. As of right now the layout of the buildings that the accademia uses create a courtyard space which they use for performance and such. Also across the street there is an open space with parking, this could be used as access to the site. The site is roughly 163’ by 300’ ; these dimensions are a rough estimate around the site to understand scale and the area that we will be dealing with. This does not include touching the already existing accademia buildings.

VEGETATION / SOIL / TOPOGRAPHY Throughout history this site has been subject to change in the soil makeup. This is due to its geographical location, being in between two volcanoes and along the Tiber River. These two major landmarks played a huge role in how the soil is on the site today. It is made up of volcanic deposits, which leaves the soil in a permeable state. The soil got this way over many years with volcanic activity and also the flooding of the Tiber river. Both of these, you could say “natural disasters’ changed the makeup of the soil. When the volcanoes erupted and the river flooded it left debris which was ultimately soaked into the soil, giving it the unique conditions that it has today. The soil that is in Italy has the ability to become geothermal. With the specifics of the site the only way for this to happen would be to create a vertical loop, instead of horizontal. This just means that to get the energy in a geothermal way we would need to drill deeper into the soil. Italian soil has the correct make up and almost all of italy could be fueled by geothermal energy. The vegetation on the site has changed drastically over its lifetime, starting with being a vineyard and now it is a place where gardens and trees are the main source of vegetation. The inspiration for how the vegetation that we now see in Rome was based on the aesthetic of Italian renaissance gardens. Over the course of time the species that were native to Rome began to disappear because people were planting new species of plants for their gardens. These plants were not native to Rome and led to the shift in vegetation throughout. Rome started to become known for their stone pine trees also known as Umbrella Trees that line the streets. These trees are exactly as they sound, they look like giant umbrellas and provide the perfect amount of shae when walking along the streets of Rome. Though these trees are rooted in the identity of Rome, they are not native to the area, they were planted by Mussolini in the 1920’s. With a lifespan of 100 to 150 years these trees are beginning to fall and creating a concern for trees crashing into buildings.

VEGETATION ON SITE The vegetation around our site is very dense, there are a lot of stone pine trees, palm trees and bamboo stocks. Yes, bamboo. They are used as a means of creating a wall for the outdoor performance space to feel as if it is its own room. There are also little flowers throughout the site. Helping to give this space a feel for what a roman garden would be like. The vegetation within this site provides the academia with the perfect set up for outdoor performances.

2 BUILDING NARRATIVE

The language of project that is begining to unfold, with research done and all points starting to form, what will be the intention of the project? How far can you spread all of these elements. This is the portion where we are creating clear design ideas that will be carried on thorughout the project. We are looking at the project from every detail and making informed decisions based upon what is exisitng and what could be.

THE QUESTION What can the Accademia Filharminica Romana become? Can it become more secluded and feel almost like a private experience? or could it become a public place that people feel welcomed to come and enjoy what they have to offer? So, which is it? Now that the site has been researched, it was time to think about what the best way is to approach this addition unto the Accademia Filarmonica Romana. Looking at what the Accademia already had on the site it became clear that they were defining boundaries with buildings. Meaning they were creating their own courtyards and starting to define spaces with trees and buildings. Which began to peg the question of how to approach this new boundary for the site? Or more so what could the boundary be? Does the site have to be lined with a building for there to be a boundary? Asking these sorts of questions helped for the project to develop with an idea of what the site could produce naturally with the vegetation and the existing structures. The Accademia was created for amateurs to learn music and have fun playing it, there was no need for large auditorium spaces. They simply needed a couple of rooms for them to practice and play for their friends. Now with the growth they need a place for the performances they are putting on. They have a outdoor concert area that begins to use the patio conditions that all the buildings and vegetation are creating but they have not yet created and built a place that they can house the performances inside. Since the Accademia was established with the idea that everyone can play and learn music the project called to more civic with its presence amongst the sites. How can this project be used and enjoyed by the public? This also begins to address how the project will approach the street front? Does this project need to be like every other block within this area, with buildings lining the street and more open space in the back? Or does this project take the back of the site and develop that and begin to think about how this block can develop beyond the constraints of a normal roman block? The site has more to it than what it stands for now. The specific site we are looking at has gone through many changes in its lifetime, as seen in the research. This site and specifically the building have had relation with surrounding buildings, giving this site a richer history. The building that the Accademia is in now used to work in relation with Villa Guilia. With a site that is directly below the gardens of Villa Guilia, the project became a matter of how to show the connection between the two. How can two projects that seem so far apart and be used for completely different things be tied together? Is it through materiality, or are the two not close enough for people to understand? Or is this a physical connection between the Accademia and Villa Guiila? Noting the projects history is important and though one building on the sire is not the most attractive it still serves to establish a boundary. May-

be this can become an opportunity to redesign this project in the same shell but in a way that will help to project to answer the questions of site that are being addressed? With existing conditions on the site being important the conditions that surround the site also begin to play a huge role in what the project can become. As of right now their areas that surround the site are worn down industrial buildings. With the growth in Rome, it can be assumed that this area will be developed further and starting to take this into account the project can delve deeper into what can a neighborhood block look like for Rome within this area? Can this help to emphasize the importance of this building for the Accademia? ANSWERING When asking these questions there were a couple of ideas that stuck around, the idea of boundaries and how can a building be used to create and establish boundaries and space. While also looking at the historical connections of the space. There is no one size fits all answer so there were two site concepts that were developed. One of which is on this page. The other is in the appendix if you would like to check it out and see what I am talking about. The site idea that was carried forward was one that is addressing both questions in a way that the Accademia is already using. The idea of using structures and vegetation to define boundaries and create spaces. Answering the question of what the block can look like and what it can mean for the historical connections and the neighborhood itself. Looking at the neighborhoods that surround the site it is seen that all of them look alike. This is typical within a normal Roman neighborhood, but can it be broken? This project will be looking at how the site can be to establish a new way to think of neighborhood from this portion of Via Flaminia. With this idea, it is also important to think about the historical ties this project could have. The historical ties that this site has is to the building that is to the Northeast of the site, Villa Poniatowski. Taking the ideas from the Villa with a colonnade but transforming this into a new way of thinking. The idea for this site would be to create an underground courtyard that houses most of the program. This will allow for certain pieces of the program to come up at very specific moments, these pieces that come up will be able to inform new spaces and define the landscape above. Rethink what a neighborhood could be for this site will ultimately make people who want to build near the site question what they should be doing. With program being on the back of the site and nothing at the beginning it starts to bring the question of what could this street look like? Will it start to take inspiration from the park across the street and who there is nothing creating an open piazza for the buildings around? Or will it just be a piece that does not follow the traditional normal of what Roman vernacular would normally call for.

Each of these elements play a significant role when thinking about how a project should approach not only the site and placement but begin to peg the question of do, we really need to follow what everyone else is doing? Changing and thinking of a site differently than what is typical will allow for the city of Rome to be more than its historical type of building but also becoming known for reinventing what a Roman villa could look like. RESOLVING The answers to the questions became the parameter for what the project could become. This is not to say that it will not change and evolve as the project is looked at with a closer eye. After figuring how the project is choosing to address the questions it was important to look at what the best way is to think about the program and how it can eb laid out within the site. A series of studies were done figuring program and circulation to find the the best way to approach the project will be to set a parameter of what the project should become and how the spaces can begin to be organized by studying a plan done by OFFICE. Though it is a study of a crematorium in Ostend, this plan uses the idea of having three defined areas that are broken up by utility. Reworking this idea and merging it with the site conditions that the project was starting to address the project became three main blocks that are divided into public, semi public and private. The three main blocks will all have their own courtyard that is not only within the typical vernacular architecture of Rome, but it is also used as a way to define the spatial structure of the project. The blocks within this project are also connected in small moments this is an idea that was developed from the plan that was studied. It is beginning to establish how people are to use the space and instead of the project being divided up by utility this project is divided up by moments. The layout of this project begins to address all questions that I am asking. the slight tilt in the project begins to address the connection to the Accademia and what the project can mean for them. The setback nature of the project addresses the public and the idea that this is a space for everyone to enjoy even though they are no longer amateur musicians it is still important for people to feel comfortable within the space. The creation of the public space and redefining the outdoor concert area. Also, the connection to Villa Guilia through the use of a stair that will bring people from the public plaza to the gardens. Though the neighboring blocks are not within the site it is looking at them and how they will influence the project is extremely important. This project will not be separate from its surroundings, it is not meant to be alien to the area but rather develop a new way of thinking of neighborhoods within Rome. Because for a building to be civic and have a public plaza it does not have to be a palace; it can be just a public place for people?

SECTION / PLAN : FLOOR 01

Circulation / Mechanical / Restroom Public Space Conservatory Office Maitenance

SECTION / PLAN : FLOOR 02

3D MASSING MODEL

PLACE, CONTEXT, SCALE How does one approach a site within Rome? Does one follow the vernacular architecture, or should it be creating something that is against all of what the city stands for? A question like this needs to be addresses with careful consideration. On one hand a project can fit seamlessly into the context and look as if it was always there, the project could look almost alien to a site or the project can take bits and pieces and construct a project that is responding to its place. What is the best approach? Is there a wrong answer? There is no wrong approach but there is an approach that would make the most sense and that is taking what has been learned over the course of history and integrate that into a new design. The site for this project has existing buildings on it that are not only built in a typical Roman vernacular but also have a rich history to their location and what this used to be. The context that is on the site already has a sense of what the spaces are beginning to communicate. The site is composed of a series of buildings that are establishing courtyard conditions and within this space there are performances. The context of the project is what is creating the places in which people can inhabit. Beginning to emphasize this became an important part with creating an addition onto the Accademia Philharmonic Romana. Starting to approach the site with a different set of parameters in the sense of building on the site begins to create a conversation of what a Roman neighborhood can look like? What would happen if buildings were not front loaded and begin to create pocket of public space? What would this mean for developments within this area? This project begins to address this change while keeping using the building types that is native to Rome and keeping the connection between the Accademia and Villa Guilia. Being able to break the boundaries of what the site by developing the blocks to the south and creating the connective piece to Villa Guilia will not only help root the project in its placement but it is giving it its own identity. It is easy for projects to follow what is normal within Rome and create similar conditions. This project does do that, but it also begins to think about it in a modern way and challenge what people see as a typical Roman vernacular. Not only is the placement and what is surrounding important but also scale and how a project will fit within what is already existing. Will the project be way taller? Will it be quaint on the stie? Will be it be one story and taking a large footprint? All important questions, but when looking to follow the vernacular of the city this project became a series of courtyards that begin to define programmatic elements that surround them. This is typical of Rome and instead of building out the project will build up with the tallest portion in line with the Accademia. This helps to redefine the differing elements in the project while also using the context and arrangements within Rome as a basis for its construction. The height of the project works in relation to the existing philharmonic while also work-

Courtyards Around Site

Historical Connections

Location of Accademia

Developing around the Site

Connection to Villa Guilia Garden

Designing a Public Plaza

ing with the program that it within the project. The tallest portion, which is the main hall, will be the same height as the Accademia. This will strength the relationship that is being created through the placement of this program. The other buildings are not as tall, which works to “blend” in with the buildings that area already on the site. The height is not the only factor of scale though. The importance of size was also a consideration. Within Rome there are a lot of slender buildings and even though this project may not look slender, it is. This it to help environmentally was well as to just fit within the Roman vernacular. Since public plazas are not normally within a neighborhood like this a couple questions have been arising, like, what is the approach to the courtyard spaces, are they use stone? Do they have greenery? What are they calling to be are all the interior one’s stone then the main courtyard grass? and can the landscape begin to articulate what the spatial conditions within the project are? What can the experience be for people? Creating an answer to this question of what the ground will look like is something that needs to not be taken lightly. This is the approach to the project, the first-place people will enter. So, what can it be? this project begins to use this plaza as a place for more program to be placed. The Accademia already uses the back portion of the site to hold concerts, so why can this condition not be mirrored and have a plaza that is used for concerts? Or simply an area for this neighborhood to enjoy. From the many iterations that have been done it is seen that the plaza does not have to be covered in trees rather it is more important for the space to have a defined boundary and that is it. This makes the project question what it then means for the academia and if the façade needs to be somethings to work in relation with the activities that will be commencing within this plaza.

SPACE, CHARACTER, ATMOSPHERE, IDENTITY What can this project become and why is it taking this path? A question that is important to ask oneself. Firstly, what do the current spaces begin to create for the site, they create pockets of experiences, both interior and exterior. The moments that are being created are the important characteristics of the site. This became the first step in creating an identity. Next what and how will the project come to be. With the Accademia in typical Roman vernacular this project called to be slightly different. Taking inspiration from older Roman architecture such as the Pantheon and the Roman forum where the exterior was blank, but the interior was decorated to what the space is trying to convey. This is a project that is looking to articulate moments and feelings within a space. A moment where a person can peak through a slender opening to the outdoor concert space. Each moment that is being created is done with intentions of creating a moment within the project. Taking the ideas and concepts stated by Peter Zumthor in his writing ‘Atmospheres’ knowing the importance of the spaces being created and what that can look like for someone. Whether it be seeing something off or simply hearing music that brings joy. These are another important element to the atmospheres that this project is creating for the Accademia. This project begins bringing questions such as what are the moments that can be created? Are they tied to what is already existing? Should the buildings have clear communication between one another to establish a deeper connection? Could this connection be used to define space? With characteristics of surrounding buildings and wanting to establish a connection to Villa Giulia the smaller details are what establish the characteristics of the space. Putting emphasis on smaller elements is like what the pantheon is creating. It is creating a conceal and reveal moment. Though the reveal is not the same this project has similar characteristics of what Roman Architecture used to look like. addressing ideas of what they could and should be happening there should be ties with the program to the site. The placement upon the site is extremely important. So, the orientation of each programmatic element will follow what the site is trying to convey. There are three structures, one that holds the main hall, one that is for the public and one that is conservatory. The one that is tilted is on purpose, it is to show the importance of the main hall while also creating a connection from this addition to the already existing Accademia. the tilt of this project also has to do with helping to create a defined edge and not overtake the concert space that the Accademia is using. The public structure is creating a connection with the plaza that is being established. The conservatory is placed along the backside because it is more of a private program and it gives people within the Accademia a place themselves. Since the courtyard is a design tool used throughout

Projects Connection to the Site

Rome and roughly on the site the inclusion of this was crucial to the identity of the project. The identity centered around the experience of space and what can Roman architecture become. Rome is a place where it is typical to have a brick facade with a series of windows to allow for air circulation throughout the building. Taking this idea forward and to make the project fit within Rome it is also important that it has its own identity amongst the rest of the city. This is not saying to get rid of all characteristics but take what was done when the construction of Rome started and think about that in a modern way. The way of construction in Rome has worked and provided the city with a strong backbone of design. So why try and change it? The courtyards within this project are used as a way to define area, they are used to create invisible boundaries that help to organize the program that surrounds them. This helps to create a better flow throughout the space as well as giving more purpose and thought to their placement and size. They are not only just an element of vernacular within the city, but they are a way of thinking and showing what it can be. They can also begin to define and show spaces in a different light whether it be through the materials that are being used to maybe what is happening within the space. They begin to show how the space can be thought of. What are the limits of the courtyard within this area? Do they create these boundaries?

SECTION : COURTYARD AND SPACES THAT IT IS DEFINING

First Floor

Second Floor

Third Floor

INTERNAL COURTYARD CREATED BY THE STRUCTURES

ORGANIZATION, ARTICULATION Building upon what is already existing within Rome the organization of this project calls a courtyard design. Courtyards are something that have been developed in many different styles. There are Spanish architects that begin to design courtyards in terms of moments within a project. It is not only a passive design strategy, but it can also be a different way to articulate varying spaces within one project. This type of design is seen within the Herzog de Mueron’s rehab center in Basel. They use the idea as a courtyard to begin to divide up space just as the Crematorium within the precedent studies that have been done. This project begins to question the organization of buildings within Rome and if they can be thought of in a different way. This project has three defined programs, all these elements will have their own courtyard. Taking inspiration from not only courtyards within Rome but throughout the world and how others see and design them will help progress the project beyond what a typical Roman courtyard looks like. This will be looking closer at Spanish architects such as Patxi, they begin to use courtyards to create moments of relief or just simply making a space better through subtle openings. Creating meaningful moments within the space, moments in which people can question of experience say someone playing the piano in a way they have never seen or heard. These courtyards become the centerpiece for each program so it begs the question of what will they be for each space? Are they accessible to the public or is it just a place to view performance that are happening? The courtyards that are being used help to define space as well as organize program. This type of program organization came from the study of buildings within Rome. Looking through and understand lock structure, the city began to show how buildings came together to create a central courtyard as well as one for their own usage. Having this spatial structure not only helps to define the programmatic elements but also establish the circulation and how people can navigate the space. Rome used to approach architecture in an entirely different way, still with courtyard but rather than having a façade that has ornamentation they were plain and on the interior is where the identity of a building was. Examples of this type of building would be the Villa of Mysteries and the House of Fahn. The Villa of Mysteries has a plain façade constructed of stone but then on the interior there are beautiful red walls that begin to define where a person is within a space. These red walls surround a courtyard and begin to tell a story of what was happening within that time frame. Writing these moments for people within architecture is an important part when understanding the ideas of a courtyard. Not only are they good for construction within Rome but they are creating the experience of

First Floor

Second Floor

Third Floor

Public Main Hall Maintenance Conservatory

First Floor: Second Floor: 01. Entrance / Lobby 01. Secondary Hall 02. Reception / Info 02. IT 03. Security 03. Instrument Storage 04. Coatroom 04. Dance Rehearsal Room 05. First Aid Station 05. Recording Room 06. Cafeteria 06. Staff Lounge 07. Bar 07. Instrument Storage (Conservatory) 08. Kitchen 08. Small Rehearsal Rooms 09. Kitchen Storage 09. Office 10. Main Hall / Stage 10. Staff Storage 11. IT 11. Meeting Room 12. Instrument Storage 12. Coffee Room 13. Backstage 14. Large Rehearsal Room Third Floor: 15. Choir Rehearsal Room Main Hall (open to below) 16. Locker Room Secondary Hall (open to below) 17. Staff Entrance 18. Laundry Room 19. Locker Room (Maintenance) 20. Mechanical Room 21. Trash Room

13 14

02 03

03 19 02

19 07

09 09 09 17

First Floor Circulation

16 21

09 09

Second Floor Circulation

Third Floor Circulation

the space. The House of Fahn is slightly different than the Villa of Mysteries but the same general concept on having defined moments for people based upon the placement of structures that created courtyards.

ACCESS DIAGRAM

This project is taking this idea and separating the three programmatic elements to create a central courtyard. Starting to raise questions of what is this space for the project? this space will be used as a way for people to have a secluded area within the Accademia. Will it be excess able from the interior or will it simply be an exterior condition? This element within the project calls to be something completely separate of the rest. The space will be different in material and start to establish a new way to be within the space. It is the only space in which all the programmatic elements can work together, so how can this be emphasized? Could it be done through the placement of windows? This project will be very specific with where windows will be. This helps to articulate the spaces on interior as well has create connection between interior and exterior elements. Understanding this space is key to understanding how the spaces will function.

Chamber Hall Entrance Maintenance Entrance Staff Entrance Conservatory Entrance Maintenance Entrance

TECTONICS, MATERIALITY, DETAIL/HAPTICITY With this project being within Rome, it was important that the project use what they have already learned with what works for material. A clay tile roof and brick or stone facade. Not only this, but the style and windows. All of these come together to not only create a vernacular style for Rome but also helps all the buildings to perform better environmentally. Discovering how this type of construction has been used throughout Rome by studying Trajan’s Market, Villa of Mysteries and the House of Stags. Even before considering designing within the old Roman parameters, it was important to understand the design and how small details can begin to affect the outcome. This is seen in projects where they begin to play with the idea of the courtyard and what elements can begin to emphasize what it is trying to do. Whether it be through small slits of light, or simply through the window design, using precedents to understand window placement and design that differs from what is typical within Rome. For this project, it could be nice to articulate further on how and why the windows are the way they are. This could be done through a variation of windows based on amount of sunlight that will be entering the space. For example, the southern facade would need a little more protection for the interior, so it is not heating the building to a point of discomfort. While the facade that is facing the north will not receive a lot of sun only at night. So how can windows and design help consider these arguments while also articulating space in a thoughtful way? Windows can become moments within the project, they can act to view the site in a new way, more so framing the moments that people can experience. Taking inspiration from the Villa of Mysteries and House of Stags and how they use specific materials and details to make an experience. The House of Stags uses openings to frame the courtyards to put emphasis on their importance. Villa of Mysteries uses paintings to define each courtyard and make it separate from the next. The division of program with their own courtyard will help to reiterate the points that were made in early Roman architecture. This lends its way into material as well beginning to use similar materials to what early construction within Rome used. So, using stone, tile roofing and differing interior conditions to create an experience for the site. Starting to look at how these courtyards can be used differently than anticipated? Are they open with a sunroof above? What is the best way to create a space and make sure that the details emphasize and show the importance of the courtyard? The details of a courtyard can be simple it does not have to be a large change from one to another, the change could be in how people use and access the space. that is what will be important when studying and progressing the project. The central courtyard does call to be separate from the main facade but how. This will be taking inspiration from Herzog De Meuron and trying to find a way to

FACADE STUDY 01

FACADE STUDY 02

ELEVATION : PUBLIC PLAZA / APPROACH TO PROJECT

Another detail that will make this project unique is its placement along the site and how it is addressing the street condition, not placing all the program at the street. “Plain” material in a way that can create depth while also still having small details that can be so telling of what the project is trying to convey. This is not a project that is focused on the architecture it is focused on creating an environment for the public and a place for people to be able to practice and listen to music. How can the materials and the details help to enhance this experience? With smaller details this project will add to the architecture that is within Rome with similar construction a thoughtful technique, but it will also question the typical vernacular and process that Rome has set in place. When finding the idea of what the facade of this project could be has been no small task, The project should fit within the site, but it also calls to have a civic presence. So, for right now itis plain and studies and drawings are being done to see what it can become. This will be carried through when looking into the environmental considerations, but it will also have to deal with the structural system that will be chosen for this project. The idea of having this project having a heavy presence has always been there so stone of some sort but I also think it is important to look at the punchy windows that Rome has. Taking inspiration from architects such as Patxi will help to see what windows can become and how they can begin to articulate space.

SECTION : AUDITORIUM

NORTH ELEVATION

ENVIRONMENTAL STEWARDSHIP Materiality and detail go way beyond what people can see, most of the materials that are used within typical Roman construction were not for aesthetic purposes. The materials that were chosen to be within this area is because of their availability and what they can begin to accomplish for the building. Since Rome has been developed over thousands of years helps to reassure which building methods work the best for the area. This is not only with materials but also shape and layout of the project. Looking into the vernacular architecture within Rome it is noticed that there are a lot of courtyard style buildings and homes. This is because of the climate that Rome has. Having a courtyard style building helps to naturally ventilate a space. Courtyards within Rome have changed a lot over time for what they are doing spatially for a building, but their overall purpose of natural ventilation stays the same. Studying the area and all considerations it was also important to look into the vegetation and how it is beginning to affect the environment. Ultimately this ground is rich with nutrients because all the plants are doing well so it should be taken into consideration that this land will always have vegetation. The vegetation also helps to break up the wind and shade the site. Using the vegetation as division of program, shading device and ultimately a wind block will be helpful for progressing with how to consider the plaza that will be created. After researching the climate within Rome and the conditions that they are under, it makes sense that the vernacular is courtyards and thinner buildings. The courtyard is an important part of creating a structure that helps with natural ventilation but there are many materials that can go into this type of construction. A lot of Roman construction uses stone like brick and travertine. Travertine was used to construct older buildings when the facades were not as ornate as they are now. Brick or stone is used throughout Rome an example of brick being used as a construction method is the Colosseum. Having precedents and knowing how they function within the city and how they have held up with time creates a strong foundation for what this project should use within its construction. Keeping this in mind the project is going to use the courtyard as a way to eliminates the amount of power from mechanical units needed. The courtyards within this project are used for air circulation as well as beginning to define the space. These will be a key element in the connection of the space to the vernacular within the neighborhood as well and making sure the project is not solely using mechanical systems. The roofing systems that are used within Rome are clay tile roofing and this is not only and aesthetic purpose, but this type of roofing also acts to control heat within the building. Taking this into account this project will use clay tile roofs not only to fit within the vernacular of the city but also to gain the benefits that this type of roofing has to of-

Solar Control Shading devices such as a screen of some sort will help to maintain an average temperature for this project, maybe even the use of a Trombe Wall. Shutters will also be used for any window within the project.

8:00 pm

Natural Ventilation Using a courtyard design to be used as a way to circulate air throughout the project. This will come from perfectly placed windows along the facade. As little number of windows as possible. Clay Tile Roof Using a double layer of clay tiles for the roof will provide not only protection from the rain but will also act as an insulating layer for the project.

Rainwater Management Collecting water as a way to water vegetation within project or maybe be used thorughout the building for utility purposes. The piazza begins to control rainwater through use of cobble stones.

12:00 pm

Outdoor Comfort Creating comfortable places for peopel to experience while visiting the Accadmia Filarmonica Romana.

5:00 pm

PASSIVE STRATEGY DIAGRAM

fer. The idea of clay tile is used to insulate the project ultimately helping to maintain an average temperature within the project. This type of roofing system will also help with rain drainage and making sure that the building is using its resources to its full ability. Rome does have a rainy season, so it is important to investigate how they deal with rain. The use of a sloped roofing system will also allow for the project to have a rainwater storage system. This could be used to water the vegetation within the site or it could also be used throughout the project for mechanical system. Controlling the rain will be extremely important within Rome because of the amount the receive at points. through research I realized a lot of projects use cobblestone paths or piazzas to control the amount of water. Bringing this aspect into the project will help to make sense of not only the courtyards that are being designed but also bringing light to the good a piazza can do for this site. The use of cobblestone will not only used to work environmentally but to also fit within the vernacular of Rome as well as create a definite difference between the street and plaza. Taking from precedents and understanding all the environmental conditions that Rome could have and placing this within the project for the Accademia will help to create a project that not only fits within he vernacular of Rome but will also help to make the building as environmentally friendly as possible.

COURTYARD FOR AIR CIRCULATION

SLOPED ROOF’S FOR RAIN CONTROL

COBBLESTONE FOR RAIN CONTORL

NEW DEVELOPEMENT FOR SHADING AND BOUNDARIES

ALL WALLS WILL BE 14" AND CLAY BLOCK CONSTRUCTION EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

59'-11"

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

7 10'-11"

SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

6 11'-4"

EDGE OF SLAB

68'-4"

222'-0"

DOOR OPENING 36"

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

20'-0"

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

SOLID CONCRETE

29'-9"

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

20'-6"

EDGE OF SLAB

SOLID CONCRETE

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

241'-6"

3 TECHNICAL SOLUTIONS

This is where the project becomes integrated. Where we begin to look at all dimensions that are beyond design. This does not mean that we have left the principles we made in the dust but more so solidifying them through every point within the project. It is important to make sure that all aspects of the project are full thought through. Making sure intentions are clear.

8.1

'-3

CA012

0'-

'-5

81 8"

7.1

6.1 "

7 '-3 8

5.1 4.1

3.1

6'-

'11

53 8"

'-7 2"

30 '-

Ø5'-6"

1" 59'-114

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

Ø5'-6"

MECHANICAL - MANIFOLD

1" 10'-118

6 11'-35 8"

2.1

OCCUPANCY LOADS This program is centered around creating an addition or another building for the Accademia Filarmonica Romana. Looking into the loads it is important note the toilets and the amount of people these places can hold. With this it is needed to know how what shapes and sizes the areas really need to be. Also starting to mix categories like putting storage and security with utility and how the utility spaces can also be used for circulation. How can the elements start to inform one another?

PROGRAM

NET SF/ROOM QTY

TL NET SF

PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS

entrance/lobby recep0on/info center security sta0on cloakroom ﬁrst aid sta0on Cafeteria bar kitchen kitchen storage

1500 200 100 300 150 800 300 250 80

1 1 1 1 1 1 1 1 1

1500 200 100 300 150 800 300 250 80

CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL

Main Hall stage Main hall Secondary Hall Changing room (performer)-backstage Instrument/equipment storage IT-Control room

3500 1200 800 1200 800 500

1 1 1 1 1 2

3500 1200 800 1200 800 1000

MANAGEMENT MANAGEMENT MANAGEMENT MANAGEMENT MANAGEMENT

staff entrance offices mee0ng rooms staff closet coffee room/staff room

60 1250 300 150 400

1 1 1 1 1

60 1250 300 150 400

CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY

Rehearsal room-small Rehearsal room-large Rehearsal room-choir Dance studio Recording studio Instructor/Manager lounge area instrument/equipment storage Locker rooms

350 2500 1800 1200 1150 600 1500 2000

8 2 1 2 1 1 1 1

2800 5000 1800 2400 1150 600 1500 2000

MAINTENANCE MAINTENANCE MAINTENANCE MAINTENANCE

Waste room/recycling Equipment room Locker room/changing area Laundry room

250 500 250 250

1 1 2 1

250 500 500 250

L GROSS SF

OCC. GROUP

OCC. FCTR

OCC./ ROOM

EGRESS REQS

50% OCC.

M. TOILETS

F. TOILETS

LAVATORY

BUBBLERS

2500.00 333.33 166.67 500.00 250.00 1333.33 500.00 416.67 133.33

A-3 B B B B A-2 A-2 A-2 S-2

ASM. UNCON BUSINESS BUSINESS LOCKER ROOM BUSINESS ASM. UNCON ASM. UNCON KITCHEN STORAGE

100.00 2.22 1.11 10.00 1.67 53.33 20.00 2.08 0.44

2 EXITS 1 EXIT 1 EXIT 1 EXIT 1 EXIT 2 EXITS 1 EXIT 1 EXIT 1 EXIT

50.00 1.11 0.56 5.00 0.83 26.67 10.00 1.04 0.22

0.40 0.04 0.02 0.20 0.03 0.36 0.25 0.01 0.00

0.77 0.02 0.01 0.10 0.02 0.36 0.25 0.01 0.00

0.50 0.06 0.03 0.25 0.04 0.27 0.27 0.01 0.00

0.20 0.02 0.01 0.10 0.02 0.11 0.04 0.00 0.00

5833.33 2000.00 1333.33 2000.00 1333.33 1666.67

A-1 AS PER PROGRAM A-1 STAGE A-1 AS PER PROGRAM B LOCKER ROOM S-1 STORAGE B BUSINESS

300.00 80.00 40.00 40.00 4.44 11.11

2 EXITS 2 EXITS 1 EXIT 1 EXIT 1 EXIT 1 EXIT

150.00 40.00 20.00 20.00 2.22 5.56

1.20 0.32 0.16 0.80 0.02 0.22

2.31 0.62 0.31 0.40 0.02 0.11

1.50 0.40 0.20 1.00 0.04 0.28

0.60 0.16 0.08 0.40 0.00 0.11

100.00 2083.33 500.00 250.00 666.67

B B B S-1 B

BUSINESS BUSINESS BUSINESS STORAGE BUSINESS

0.67 13.89 3.33 0.83 4.44

1 EXIT 1 EXIT 1 EXIT 1 EXIT 1 EXIT

0.33 6.94 1.67 0.42 2.22

0.01 0.28 0.07 0.00 0.09

0.01 0.14 0.03 0.00 0.04

0.02 0.35 0.08 0.01 0.11

0.01 0.14 0.03 0.00 0.04

4666.67 8333.33 3000.00 4000.00 1916.67 1000.00 2500.00 3333.33

E VOCA. ROOM E AS PER PROGRAM E AS PER PROGRAM E EXERCISE E VOCA. ROOM B BUSINESS S-1 STORAGE A-3 LOCKER ROOM

56.00 80.00 80.00 48.00 23.00 6.67 8.33 66.67

2 EXITS 2 EXITS 2 EXITS 1 EXIT 1 EXIT 1 EXIT 1 EXIT 2 EXITS

28.00 40.00 40.00 24.00 11.50 3.33 4.17 33.33

0.56 0.80 0.80 0.48 0.23 0.13 0.04 0.27

0.56 0.80 0.80 0.48 0.23 0.07 0.04 0.51

1.12 1.60 1.60 0.96 0.46 0.17 0.08 0.33

0.56 0.80 0.80 0.48 0.23 0.07 0.01 0.13

S-2 S-2 B S-2

1.39 2.78 16.67 1.39

1 EXIT 1 EXIT 1 EXIT 1 EXIT

0.69 1.39 8.33 0.69

0.01 0.01 0.33 0.01

0.01 0.01 0.17 0.01

0.01 0.03 0.42 0.01

0.00 0.00 0.17 0.00

8.17

9.22

12.21

5.33

416.67 833.33 833.33 416.67

STORAGE STORAGE LOCKER ROOM STORAGE

1080.47

CODE : OCCUPANTS / EXITS / STAIR WIDTH

CA012

EXIT #6 1 doors @ 36in. ea. 36in egress total

RECORDING-STUDIO

INSTRUCTORS-LOUNGE

350 150 People on this floor for the Main Hall

LARGE-REHEARSAL-ROOM LARGE-REHEARSAL-ROOM

CA012

EXIT #6 1 doors @ 36in. ea. 36in egress total

MAIN-HALL/STAGE

Ø5'-6"

MAIN-HALL/STAGE

DANCE-STUDIO

380

Ø5'-6"

380

100 People on this floor for the Main Hall

80 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

INSTRUMENT-STORAGE 11

EXIT #7 2 doors @ 36in. ea. 72in egress total

PATIO 117

FIRSTAID

BACKSTAGE 60

Elevation A-ELEV-___1 A-ELEV-___2

COAT-ROOM

INSTRUMENT-STORAGE

A-ELEV-___3 A-ELEV-___4

MECHANICAL - MANIFOLD

SECONDARY-HALL

LOCKER-ROOM

A-ELEV-___5 A-ELEV-___6 A-ELEV-___7 A-ELEV-___8 A-ELEV-___9 A-ELEV-_H80

SECURITY 4

INSTRUMENT-STORAGE

EXIT #2 2 doors @ 36in. ea. 72in egress total

LAUNDRY-ROOM

STORAGE 14

CA012

STAFF-ENTRANCE

SMALL-REHEARSAL-ROOM 116/8

CA012

PATIO REHEARSAL-ROOM-CHOIR

OFFICES(5)

80 CA012

EXIT #3 2 doors @ 36in. ea. 72in egress total

CAFETERIA 49

KITCHEN-STORAGE

Ø5'-6"

TRASH

MECHANICAL-STORAGE

KITCHEN

SMALL-REHEARSAL-ROOM

Ø5'-6"

CA012

132

CA012

BAR

LOCKER-ROOM

MECHANICAL - MANIFOLD

LOBBY

Ø5'-6"

A-ELEV-HDDN

EXIT #1 2 doors @ 36in. ea. 72in egress total

40 Ø5'-6"

A-ELEV-HDN2

SECONDARY-HALL

A-ELEV-_H40

RECEPTION

EXIT #6 1 doors @ 36in. ea. 36in egress total

PATIO

DANCE-STUDIO

MEETING-ROOM

STAFF-ROOM

116/8

STAIR WIDTH SECOND FLOOR CHAMBER HALL WIDTH NEEDED : 37.5” WIDTH PROVIDED : 48” CONSERVATORY WIDTH NEEDED : 62.4” WIDTH PROVIDED : 48” MANAGEMENT WIDTH NEEDED : 41.7” WIDTH PROVIDED : 48” THIRD FLOOR CHAMBER HALL WIDTH NEEDED : 12” WIDTH PROVIDED : 48” BASEMENT CHAMBER HALL WIDTH NEEDED : 4.5” WIDTH PROVIDED : 48” CONSERVATORY WIDTH NEEDED : 3.3” WIDTH PROVIDED : 48”

CODE : DISTANCES TO EXIT / FIXTURE COUNT

CA012

DIAGONAL: 159' 0"

DIAGONAL: 96' 7"

DIAGONAL: 59' 8"

DIAGONAL: 110' 3"

DIAGONAL: 58' 10"

CA012

Ø5'-6"

MECHANICAL - VENTILATION

'-8

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

DIAGONAL: 199' 3" 1" 26'-58

1" 25'-108

DIAGONAL: 190' 7"

MECHANICAL - MANIFOLD

Ø5'-6"

CA012

DIAGONAL: 63' 7"

MECHANICAL - MANIFOLD

CA012

1" 28'-98

DIAGONAL: 68' 4"

CA012

DIAGONAL: 110' 2"

Ø5'-6"

DIAGONAL : 28' 5"

CA012

DIAGONAL: 96' 9"

CA012

DISTANCE TO CLOSEST EXIT: 239 '0"

DISTANCE TO NEAREST STAIR: 291' 0"

FIXTURES FOR PUBLIC AND CHAMBER MUSIC HALL : 18 FIXTURES FIXTURES ON THIS FLOOR : 8

CA012

FIXTURES FOR CHAMBER MUSIC HALL :18 FIXTURES ON THIS FLOOR : 8 HALL LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR

FIXTURES FOR CHAMBER MUSIC HALL : 18 FIXTURES ON THIS FLOOR : 8 THEATER LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR

Ø5'-6"

MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS

MAIN-HALL/STAGE 350 100 People on this floor for the Main Hall

DISTANCE TO NEAREST STAIR: 195' 0"

MECHANICAL - SUPPLY DUCTS

MECHANICAL - MANIFOLD

SECONDARY-HALL Ø5'-6"

Ø5'-6"

STAIR WIDTH NEEDED : 37.5" STAIR WIDTH PROVIDED : 48"

FIXTURES FOR CONSERVATORY : 19 FIXTURES GIVEN ON THIS FLOOR : 6 FIXTURES NOT GIVING AS MANY AS NEEDED BECAUSE OF THE LOCKER ROOM

STAIR WIDTH NEEDED : 12" STAIR WIDTH PROVIDED : 48"

DISTANCE TO NEAREST STAIR: 199' 0"

CA012

DISTANCE TO NEAREST STAIR: 167' 0"

CA012

MECHANICAL - MANIFOLD

CA012

DISTANCE TO CLOSEST EXIT: 143' 0"

DISTANCE TO CLOSEST EXIT: 263' 0"

STAIR WIDTH NEEDED : 62.4" STAIR WIDTH PROVIDED : 48"

CA012

Ø5'-6"

CA012

FIXTURES FOR CONSERVATORY : 19 FIXTURES GIVEN ON THIS FLOOR : 6 FIXTURES NOT GIVING AS MANY AS NEEDED BECAUSE OF THE LOCKER ROOM

STAIR WIDTH NEEDED : 41.7" STAIR WIDTH PROVIDED : 48" FIXTURES FOR MANAGEMENT : 5 FIXTURES FIXTURES ON THIS FLOOR : 6

DISTANCE TO NEAREST STAIR: 167' 0"

FIXTURE DISTRIBUTION AND COMPARISON FIRST FLOOR PUBLIC + CHAMBER HALL FIXTURES NEEDED : 18 FIXTURES PROVIDED : 8 MAYBE ADD MORE CLOSER TO THE PUBLIC CONSERVATORY FIXTURES NEEDED :19 FIXTURES PROVIDED : 6 NOT GIVING AS MANY AS NEEDED BECAUSE OF THE LOCKER ROOM SECOND FLOOR CHAMBER HALL FIXTURES NEEDED : 2 FIXTURES PROVIDED : 8 HALL LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR MANAGEMENT FIXTURES NEEDED : 5 FIXTURES PROVIDED : 6 CONSERVATORY FIXTURES NEEDED : 19 FIXTURES PROVIDED : 6 NOT GIVING AS MANY AS NEEDED BECAUSE OF THE LOCKER ROOM THIRD FLOOR CHAMBER HALL FIXTURES NEEDED : 2 FIXTURES PROVIDED : 8 HALL LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR

FINAL CONCEPT

The Exploration of Concrete Construction PRINCIPLES Place, context, scale: This type of construction goes into the principle of place simply because the Romans used to use concrete as a way of constructing. Using examples of older construction techniques that have been used and looking too projects such as the colosseum and the Pantheon this can be seen. It is still common for most buildings even within the area to be constructed of concrete or some sort of stone so it is not just older construction it is all over, with this project will still fit within the typical vernacular of the site if made from some sort of stone. This type of construction will not only fit into the Rome at a large city scale but will also begin to fit into what is already existing around the site. Though it is not heavy concrete and most of the project have more of an ornamented facade this project will still look like the others that it is surrounded by. They are all heavier in their construction. This project will be a more modern version with what is existing, with windows that are not placed in a modular fashion but rather placed with more care and intension. The structure will also be helpful when decided where these windows call to be. Space, character, atmosphere, identity: Building the structure in this way will allow the project to develop on a smaller scale level. Even though a concrete structure can be very heavy in its presence the placement of these load bearing walls will help to further define the spaces that are being created and establish relationships to what is outside of the building. This is due to the project having minimal structural elements along the outside wall allowing for more of a play on what the facade of the project could be. The identity of this project needs to be more civic with its presence. It will be a building for the public and having it look or fit into what the academia is as of right now will make it blend in. The structure needs to help create the spaces and help to make sure that this project does have its own identity. I believe the structure is the identity of the project alongside the courtyards. The structure is acting as an extension of the courtyards helping to establish more of a connection and relationship of all spaces to what is being created by the courtyard. Organization, articulation: Using the structure to divide up the space that are being created by the courtyard a little bit farther. All of these walls will start to articulate how each space is to be used and where certain areas such as the cafeteria start and where they stop. Having the construction in this way will also allow for the facade to be open in certain areas for more light to get into the space. Having lighter in certain areas will help to bring importance to the areas that are being used as a “hangout” to “breakout” spot within the

3” COLUMNS THAT HELP TO SUPPORT THE OVERHANG FOR THE CONCERT HALL SEATING

HOLEDECK hoXL WITH CUSTOM DIMENSIONS

6” COLUMNS EVERY 5’ SUPPORTING THE COURTYARDS

CAST IN PLACE CONCRETE SLAB

project. Tectonics, materiality, detail/hapticity: Using a rubble wall to get the look of heavier construction but counteracting that with another material that is yet to be decided. The structure of this project will use the materiality of the structure to start creating definition within the space as well as along the facade. The details of the wood that is placed within the project can also be used to ornament the project. Showing people how the project is built and how it is dealing with the tectonics that are within Rome. Having this project have a mixture of materials that are within Rome will help it to have a greater depth of what is currently existing within Rome. The wooden columns that will e placed around the courtyards will also help to create a relationship to what is typically within Rome and how people can use a typical Roman courtyard. Environmental stewardship: Since concrete is not the most sustainable material, using a rubble wall will help to alleviate the amount of concrete needed to complete the construction of the project. This construction will also look to take already existing concrete from around Rome and turn it into the rubble that will be used to infill the walls. Not only will this project use the process of recycling older concrete but there will also be elements of wooden to help with the seismic activity in the area, helping with lateral stability. Using Hole Deck is also a way for the project to cut down on the amount of concrete needed Still giving the look of a heavier construction but with lighter materials. The materials within this project will be wood columns and beams to not only act as support around the courtyards but also to help with the seismic activity. Mixing a little post and beam and load bearing construction will help with the stability of the project as well as help to define the spaces within more clarity and intention. This project will also use a product called Hole Deck which is used to decreases the amount of concrete needed. Having the structure exposed in certain areas is a way to helped light into certain areas by reducing the amount of structure needed along the facade. This will also help to create placed for the building to be able to heat and cool itself naturally. This will be a project that is focused on the most environmental way to use concrete construction and trying to get the most out of the conditions that Rome has. Foundation Type, this project will use a typical concrete foundation. This foundation will be surrounding the perimeter of the project both on the exterior wall and the interior courtyards. There will also be foundations that come down from the walls in the center of the project. This project will also have to figure out how to transfer the heights of foundation as this project has a basement floor for mechanical. This type of foundation connection will be a stepped down to connect and transfer the loads downward. This is a foundation type that is typical for this type of construction within Rome and will also help with seismic control.

BASEMENT FLOOR

FIRST FLOOR

8.1 8.1

'-3

DOOR OPENING 36"

'-5 "

6.1

4.1

6'-

DOOR OPENING 36"

EDGE OF SLAB

DOOR OPENING 36"

EDGE OF SLAB

2.1

" '-5

'-5

DOOR OPENING 72"

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

'-8

2.1

EDGE OF SLAB

'11

12 '-8 "

6'-

3.1

'-5

3.1

'-4

5.1

'-4

5.1

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

13 0'8"

29 '-5 "

7.1

6.1

4.1

'-3

7.1

DOOR OPENING 36"

59'-11"

1.1

59'-11"

1.1

90°

DOOR OPENING 36"

DOOR OPENING 72" DOOR OPENING 72"

10'-11"

DOOR OPENING 36"

11'-4"

10'-11"

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

11'-4"

EDGE OF SLAB

OPENING FOR HVAC AIR INTAKE AND EXHAUST 25'

A.1

'-3

" DOOR OPENING 36"

DOOR OPENING 36"

222'-0"

OPENING FOR HVAC AIR INTAKE AND EXHAUST 25'

B.1

'-3

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

68'-4"

135°

2X2 STEEL COLUMN PLACED EVERY 5’ '-1

DOOR OPENING 36"

B.1

222'-0"

EDGE OF SLAB DOOR OPENING 36"

135°

'-1

CAST IN PLACE CONCRETE SLAB

C.1 EDGE OF SLAB

'-1

20'-0"

1'-

C.1 DOOR OPENING 72"

2X2 STEEL COLUMN PLACED EVERY 5’

DOOR OPENING 36"

D.1

'-1

'-2

EDGE OF SLAB

29'-9"

'-6

20'-0"

DOOR OPENING 36"

1'-

E.1

DOOR OPENING 36"

'-7

F.1

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

DOOR OPENING 36"

G.1

EDGE OF SLAB

" '-7 10

DOOR OPENING 36" EDGE OF SLAB

EDGE OF SLAB

G.1

20'-6"

F.1

20'-6"

29'-9"

'-6

E.1

D.1

'-2

68'-4"

DOOR OPENING 36"

A.1

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

1 A

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

241'-6"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

2X2 STEEL COLUMN PLACED EVERY 5’

10'-6"

241'-6"

SECOND FLOOR

THIRD FLOOR

6” DIAMETER COLUMN PLACED 5’ 0” FROM THE EDGE

6” DIAMETER COLUMN PLACED 5’ 0” FROM THE EDGE 8.1

8.1 "

'-3

7.1

'-3

7.1

EDGE OF SLAB

6.1

6'-

DOOR OPENING 36"

'-5

3.1

DOOR OPENING 36"

0'8"

'-4

5.1 4.1

0'-

29 '-5 "

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY ALL WALLS WILL BE 14" AND CLAY BLOCK CONSTRUCTION

12 '-8 "

4.1

'-4

5.1

EDGE OF SLAB

8 2.1

29 '-5 "

DOOR OPENING 36"

6.1

SOLID CONCRETE

DOOR OPENING 36"

'-5

3.1 HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

6'-

EDGE OF SLAB

1.1

" '-8

2.1

DOOR OPENING 36"

'-5

DOOR OPENING 72"

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

59'-11"

EDGE OF SLAB HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING DOOR OPENING 72"

'-5

DOOR OPENING 36" EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

90°

1.1

DOOR OPENING 36"

DOOR OPENING 72"

SOLID CONCRETE

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

90°

10'-11"

SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

6 11'-4"

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 72"

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

DOOR OPENING 36"

SOLID CONCRETE EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

'-3

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

222'-0"

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

SOLID CONCRETE

68'-4"

DOOR OPENING 36"

B.1 135°

2X2 STEEL COLUMN PLACED EVERY 5’

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

'-1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

2X2 STEEL COLUMN PLACED EVERY 5’ A.1

EDGE OF SLAB

'-3

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

C.1

B.1

EDGE OF SLAB

DOOR OPENING 120"

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-1

20'-0"

1'-

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

'-2

EDGE OF SLAB

C.1 29'-9"

'-6

E.1

2X2 STEEL COLUMN PLACED EVERY 5’

SOLID CONCRETE

D.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-1

1'-

'-7 STEEL COLUMN 2" COLUMN PLACE EVERY 2.5' EDGE OF SLAB

EDGE OF SLAB

SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-2 10

D.1

20'-6"

G.1

F.1

HOLEDECK HoXL CUSTOM SIZED FLOORING LARGEST SPAN 60’ ONE WAY SLAB

A.1

'-6 "

EDGE OF SLAB

E.1 1

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

" '-7

F.1 30'-2"

10'-6"

G.1

2X2 STEEL COLUMN PLACED EVERY 5’

241'-6"

HOLEDECK HoXL CUSTOM SIZED FLOORING LARGEST SPAN 60’ ONE WAY SPAN

3D STRUCTURAL AXON

CONCEPT 2: LIGHTWEIGHT CONSTRUCTION

A MESH PANEL FACADE When constructing the project it was never a consideration of what the facade could be if the project called to be light in its appearecne. The project is made from precast concrete... how could that be light? This is when the idea of having a mesh panel that covered the entire facade came into play. This mesh will be set two feet away from the structure of the project allow for people to see how it is standing and see the project in entirely different terms. PRINCIPLES Place, contect, scale: This project is using its facade as a way to establish a connection between the exterior and interior of tthe project. This is begining to realte to the conditions that are being established. this will begin to adapt to based upon the need for connection from the exterior program and the interior spaces. This fits within its contect in a modern apporach. A lot of Roman buildings are built in a heavy construciton being able to counteract that with a facade will allow for the project to progress with the idea of being a new way of designing wihtin Rome. Space, character,atmosphere, identity: This is project was not meant to blend into its context but rahter have a civic presense, establsihing a place for people within Rome. This facade will also being to help illuminate the exterior spaces at night strngthening the dependence the project and the public plaza have on each other. Organiztion, articulation: The facade will be the space all the way around the only change or difference would be where the structure begin to peak through this mesh facade. IN the sunlight the structure will be concealed where as at night the true construction of the project and how it will begin to articulate the interior spaces. Tectonics, materiality, detail/hapticity: The materiality of the project will be a mesh panel giving the idea that this building is built in a light construciton method, when in reality it is not. The true structure will be revealed at night, showing people will see how exactly it fits within the site. It is the conneciton between this project and the buildings that were built in earlier Rome. Environmental stewardship: The use of mesh will also begin to act as solar control and a way to get light into the space. Helping to heat the building. This type of construction will also allow for airflow which is crticical to creating a project that is rooted in an idea of using as little mechanical power as possible.

1 - TYPICAL CURTAIN WALL ASSEMBLY -1/4” METAL SCREEN IN STYLE SAMBESI FROM GKD METAL FABRICS SECURED WITH TENSION BOLTING -GLASS CURTAIN WALL 1.1 - TYPICAL CURTAIN WALL ASSEMBLY WITH STRUCUTRAL ELEMENT -1/4” METAL SCREEN IN STYLE SAMBESI FROM GKD METAL FABRICS SECURED WITH TENSION BOLTING -SPANDRAL GLASS -INSULATION -3/4“ PLASTER FINISH -14” CONCRETE CAST

12 5

2'-3"

2 - TYPICAL OUTDOOR PATIO ASSEMBLY -4X4 STONE TILES -1/2” GROUT -6” GRAVEL -RAMMED EARTH

1'-2"

10"

3 - TYPICAL SLAB ON GRADE ASSEMBLY -WOOD FINISH -1“ CONCRETE SLAB -RAIDIANT HEATING AND COOLING -3/4” PLYWOOD -2x4” WOOD STEPPERS -4” CONCRETE SLAB -6” GRAVEL -RAMMED EARTH 4 - TYPICAL FLOOR ASSEMBLY -WOOD FINISH -1“ CONCRETE SLAB -RAIDIANT HEATING AND COOLING -3/4” PLYWOOD -2X4 WOODEN STEPPERS -HOLEDECK XL (CUSTOM SIZING)

5" 2'-3"

4" 8"

1'-2"

5 - TYPICAL ROOF ASSEMBLY -GREEN ROOF WATERING SYSTEM FROM LANGLEY -3” INSULATION -3/4”SHEATHING -VAPOR BARRIER -HOLEDECK XL

6 - TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -CAST IN PLACE CONCRETE FOOTING 7 - METAL FLASHING 1

8 - 1/20” SLOPE 9. GUTTER TO CONTROL RAIN WATER 10. METAL TIE TO SECURE MESH FACADE 11. LEVELING OF GROUND TO PREPARE FOR MESH PANEL SYSTEM CAST IN PLACE CONCRETE 3

2 8

12. CONNECTION FOR MESH PANEL FACADE

FINISH

INSULATION

WATER BARRIER

MOISTURE CONTROL

1 - TYPICAL CURTAIN WALL ASSEMBLY -1/4” METAL SCREEN IN STYLE SAMBESI FROM GKD METAL FABRICS SECURED WITH TENSION BOLTING -GLASS CURTAIN WALL 1.1 - TYPICAL CURTAIN WALL ASSEMBLY WITH STRUCTURAL ELEMENT -1/4” METAL SCREEN IN STYLE SAMBESI FROM GKD METAL FABRICS SECURED WITH TENSION BOLTING -SPANDRAL GLASS -INSULATION -3/4“ PLASTER FINISH -14” CONCRETE CAST

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5 - TYPICAL ROOF ASSEMBLY -GREEN ROOF WATERING SYSTEM FROM LANGLEY -3” INSULATION -3/4”SHEATHING -VAPOR BARRIER -HOLEDECK XL 6 - TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -CAST IN PLACE CONCRETE FOOTING 7 - METAL FLASHING 8 - 1/20” SLOPE 9. GUTTER TO CONTROL RAIN WATER 10. METAL TIE TO SECURE MESH FACADE 11. LEVELING OF GROUND TO PREPARE FOR MESH PANEL SYSTEM CAST IN PLACE CONCRETE 12. CONNECTION FOR MESH PANEL FACADE

3D ASSEMBLY

PASSIVE AND ACTIVE STRATEGIES The project will be using the light construction envelop which consists of mesh panels that are in front of a curtain wall. Giving the illusion that the project is something it is not, this will also allow for the make-up of the project to be seen when it is illuminated at night. Since the structure will be illuminated this also means that the mechanical could be as well. Showing the true structure of the project and how it is functioning. The concerns for this project are the solar gains that the site has as of right now and how they will change in the future with development. There is also concern of rain wat er and flooding within the area. Rome is not a dry city but a rather rainy one so how can this project use the rainwater that it will be provided to benefit the project and overall environment.

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ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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MESH: The mesh that will be covering the curtain wall will be acting as a shading device while still allowing airflow and sunlight to get into the project. A lot of Roman construction is based with heavy masonry with rectangular windows with shutters. The mesh will be acting as a very large shutter that is covering the entire facade. It will not be movable but will be doing exactly what a shutter would be doing. The mesh is more a play on what windows used to be made with in Early Roman Construction when they would use lattice to help with sun control and signifying buildings of importance. CURTAIN WALL: The curtain wall will be allowing light into the project while also acting as an insulating barrier. This curtain wall will be made up of operable panels that will allow airflow throughout the project. This works in relation with the wind patterns within Rome and the mild climate that they have. Natural ventilation is very simply when in Rome it is just a consideration of how many and where the windows need to be placed to maximize airflow throughout the space. COURTYARD: The courtyard is used to circulate air and let light into the project, but it can also begin to trap heat and be how the project is insulated. Placing water pumps of some sort along the walls so they are heated up and begin to attract

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Passive Strategies:

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The general overview of the climate will begin to show that there are 4 defined seasons within Rome. There is Spring, Summer, Fall and Winter. Though there is not a lot of change from season to season there is enough for different environmental changes to be happening. Looking and starting to understand how all of these elements can come together to begin to create a scope for how the strategies for the project need to be approached. Especially depending on how windy, the rainfall and the overall temperature that is occurring within that time frame.

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heat and be a more natural way of insulating the space. The benefits of the courtyard desing are too many and with the site, there is nothing to block the sun and when development starts to happen to the south the project will have significantly less sunlight so having the courtyard will be an important feature when letting light into the space.

Just looking over a general idea all these systems come together to create a simple yet complex system that will help for the project to not rely on active systems as much as others. Active Strategies: Active strategies are going to try and be minimal but with the location of the project and climatic differences with seasons it is best to have a mixture of systems. It is also important to note what the theater will be like and the concerns that, that will carry moving forward with the design. Will it be a completely different system? What will this look like for the project? When looking into using systems that are active in earl civilization when the Romans were making their baths, they were using geothermal energy to maintain the environment. So taking inspiration from that and seeing how this could be place in this project in more modern terms will be essential to full understanding of the site that this project will be sitting on. GEOTHERMAL: Geothermal energy will be used to get energy into the project to power the mechanical system that is chosen. This will become the main backbone of the project and how this project is relating to its surroundings and the history of Rome.

Latitude/Longitude: Data Source:

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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Latitude/Longitude: Data Source:

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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ROOFING: Using a slanted roof to account for rainwater collection and starting to think about how the roof make up can be so there is more insulation and a barrier from the solar gains. This project will look at the effectiveness of the green roof and how this can begin to cool down the project as well as control rainwater and being a system of rain water collection.

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SPRING IN ROME The springtime in Rome is filled with very mild weather, though this is the transition time between the cooler and warmer months. This time in Rome is generally when most passive strategies will be used to their full potential. With humidity at bay and the solar gains at a normal level. It could be said that the spring in Rome is the best season. There is never a set pattern for wind within Rome, it comes from where it pleases the only thing that people can do to try and combat this is using buildings and vegetation. Having the wind come from all directions starts to open possibilities of window ventilation and having passive airflow throughout the space. The wind that will be coming through will also be a nice temperature, not warm and not cool. It will be a comfortable way to move air within the project.

When it comes to springtime in Rome though it will be important to look at how to take advantage of the solar gains that will be happening as well as taking advantage of the overall temperature outside and trying to not rely on active systems.

Latitude/Longitude: Data Source:

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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There is a bit more rain in the spring generally towards the end of the season into the beginning of summer but overall, I would say that there is not much change in the weather from day to day other than wind patterns and clouds. It is important to note that the humidity is raised at nighttime cause one to think about how the project will start to address this difference between day and night.

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Latitude/Longitude: 41.8°"Next North, 1 Start "Animation" to see monthly plots or select the "One Month" option and cycle through months by clicking Month".12.23° East, Time Zone from Greenwich Back Data Source: IWEC Data 162420 WMO Station Number, Elevation 9 ft

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SUMMER IN ROME Summer time in Rome is very warm it gets to be abot 80 degrees or warmer and can be gernerally pretty humid. Though there are occassional nice day sprinkled into the summer it is still wondering what those really hot days could mean for the design of the project.

There will need to be sun shade that are set in place to make sure that the project is accounting for the amount of light that could enter into the project. Also consideration fo the roof and the materials that would be used there to begin to combat the amount of light the project will be getting.

Latitude/Longitude: Data Source:

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

LEGEND TEMPERATURE (Deg. F) < 32

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A facotr into the systems that could be put in place is the temperature of the wind that will be coming through the space. The temperature of the wind will be a little warm and will not necessarily work as a way to naturally ventiliate the space but rather more create movement. So having windows open at night and closed during the day would be the best course of action. The next thing to note would be the position of the sun. It will be higher in the sky causing different amounts of usnlight that will be let in. This will also cause the courtyards to get more light than they are during any other season. The sumer tends to be a little less humid than the spring but still humidity is a factor and making sure that there are no spot where air is just setting.

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Fall time in Rome is the season where passive strategies can be used to their full advantage. The reasoning for this is the weather is very mild with very few rainy days and a good amount of solar radiation.

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The solar path in the fall is very similar to that of the summer the only difference is the change in height. This will cause the project to have a little less sun and sometimes be a little more shaded. There is also an importance of noting that the sun will not be as warm just simply because of how the earth is tilted. The wind patterns do not follow a direct path and so this will not change the effects that the wind had from the summer other than the wind will be at a cooler temperature which will make for better natural air ciruclation. The wind will also be a moderate breeze which is perfect for having events outside and having all windows open.

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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Putting the dry bulb chart in here to show that the dry bulb is the highest in the fall meaning because the air may be a little more humid in the fall time but stlil is not a problem with the cooling temperatures.

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ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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WINTER IN ROME

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A winter in Rome consists of cooler weather and some snow. The sun will be at a lower angle during this season so this will need to be taken into consideration. The angle of the sun will be at about 25% for a majority of the winter.

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Though it will be cold and there will be some snow, the winters are still considered mild enough to where taking advantage of solar gains will benefit a project.

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The wind patterns that Rome will have within Winter will be like any other season, wind will be coming from every diection but in particular the northeast. The wind speeds can get up to 20 mph. . The summer can be more humid which means that the winter can be drier and there will need to be considerations put in place for instruments.

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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SITE The control and usage of environemental strategies is not just limited to the building it can also be seen in the desing of the site. This project takes full advantage of all seasons within Rome. trying to see how wind can be tunneled into the project to work for natural ventilation of the space. Using the vegtation to start to control realtive humidity wihin the project. Most importantly the usage of stone pavers in order to control the amount of rainfall that Rome has. Through each season there will be elements of the project that will be more helpful, such as, the shade that will be prodiced by the new developement will be more so for the summer. The rain collection will be for the fall and winter. the wind patterns is for every season depending on wind. Another thing to note is vegetation and the imporatnce of using it to not only define spaces but also beging to see it as a way to block or slow wind thorughout the site. This vegatation will be used as the basis of natural weather control wihitn this project.

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TEMPERATURE

WALLS THAT WILL BE SUBJECT TO SUN

The southern facade of this project will be getting a lot of solar radiation which will ultimately increase the temperature of the entire project. But this project is also looking to see how it can deal with the changing seasons. Fomr a very mild winter to a warm summer there is a lot fo temperature change within Rome.

Green Roof used to absorb heat and give off cool air, and making sure that the project stays insulated

The project will be dealing with temperture changes with a green roof as well as specific materials that will act as insulators to absorb the heat and heat the project at night when there are no people. The use of the courtyard will also help to balance the temperature wihtin the project, from season to season.

HOW THE PROJECT WILL DEAL WITH TEMPERATURE CHANGE

Heat that will come in thorugh the envelope

Stone Pavement which will absorb and release heat into the air

3D diagram showing how the sunlight will begin to hit the project and which portions will be the most affected. SUMMER SUN WINTER SUN GREEN ROOF WALLS AFFECTED BY LATE AFTERNOON SUN WALLS EFFECTED BY AFTERNOON SUN THAT COULD BE SHADED WALLS THAT WILL GET FULL AFTERNOON SUN

RELATIVE HUMIDITY

WIND MOVEMENT THROUGHOUT THE PROJECT

Using the wind and the design of the courtyard this project is starting to look at all the ways to control the humidity that rome has thorughout all seasons. One way that this project is doing so is by the use of vegetation. Vegetation will help to bring humidity into a project during drier moments but it will also take some of the humidity out of the air.

Mesh facade with operable curtain wall panels to allow for airflow

The design of the courtyards and having air flow thorughout all portions will also help to move the air so it si not stagninent. Ultimately helping to reduce the amount of humidity that the air has.

COURTYARD

ON THE FACADE THERE WILL BE OPERABLE CURTAIN PANELS PLACED EVERY 8’

SOLAR RADIATION EES EGR 70 D

With the location of this project and its surroundings this project will be getting a lot of solar radiation specifically along the southern facade. This project is looking to capitalize on these solar gains in order to heat the project as well as light it. Though the sun is great it is not always the best so the project also was looking at ways to diffue the solar radiation through the use of a mesh facade. Still letting some light though and not causing any sort of unalignemnt of the facade. The courtyards within this project will be getting sun light mostly in the summer time because of the angle of the sun but these will also be used as a way to light the space and make sure the project is taking full advantage of the solar radiation.

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RAIN This project is beginning to look at rainwater control through the use of a green roof, vegetaion and rain water collection system that will be used by the stone pavers as well as rain water from the roof. The green roof will not only be for sun control but the product will actually absorb water and evaporate it into the air ultimately cooling down the building while dealing with rain. The roofs will be slightly sloped to account for any water drainage. The vegetation on the site will be used as a way of water control in the aspects of protecting the facade as well as simply making sure there is something to dirnk the water that will be brought by the seasons. Another element that this project is using is the stone pavers to make sure that the patio does not flood with the rain that Rome gets. This will be a system that will help with control of amount on the pavement as well as making it easier to collect the rain to repurpose back into the project.

ACTIVE STRATEGIES With passive systems already in place and considerations that were already starting to take way it is now time to level the atmosphere in the project using active systems. Through intense research of Rome’s environment, it is seen that they have great soil to tap into the use of Geothermal energy. Having access to this type of energy will be helpful to jumpstart the process of designing the mechanical system throughout this project. Though it is just a mechanical system there are still considerations that need to be had to make sure that it is working in relation with the whole project instead of being separate. The whole building needs to work together to show what it is trying to accomplish. Though some ideas may get lost in translation and may be a stretch here are the consideration of mechanical units based upon the 5 principles that were originally started when thinking of the design conceptually. Some of the larger concerns that arise from the mechanical systems and what they are needed to accomplish are, how will the main hall be comfortable during performances? How will the instruments get the environment they need for them to stay tuned and in good condition? When looking at systems it goes beyond what is comfortable for a human but rather what is comfortable for the program that this project is housing. People come and go and some instruments do as well but the environment that they are leaving will stay. So, the main question that I have started to ponder when thinking about the mechanical systems is how can the environment be comfortable for people but more so comfortable for the program. Humans bodies can adapt, instruments cannot. PLACE, CONTEXT, SCALE When taking a step back and looking at Rome and how they have dealt with their mechanical systems over time, they rely a lot on material choice as well as passive systems. There are many examples from early Rome of how they began to use elevated flooring that allows water to pass thorugh in order to heat their buildings. They also began to tap into geothermal energy, the earliest example that has been seen is the Roman baths. Taking ideas that were created in early Rome and starting to insert them into a more modern example using wiring that will be strung throughout the cast in place concrete. This is a play on the water systems that were created in early Rome. This will allow for the space to be heated without having an overly intense mechanical system to integrate into the design. This does not begin to deal with the ventilation of the air throughout the project though. the ventilation system that will be put in place will be carried through the holodeck. this will carry the return and supply ducts. Allowing for the best air quality and humidity within a space.

With the design of these systems and the structure that has been chosen it can be seen that the mechanical system will not be hidden but become seen from the exterior when the building is illuminated at night. Showing people, the true construction of the project. It is important for the project to be concealed but have moments of relief. The scale of the mechanical systems that will be required for this project will be slightly smaller because of the amount and usage of passive systems. Though certain program will require certain airflow, heating, and humidity. This will start to change the sizing of the systems and overall, what and how it will be placed throughout the project. SPACE, CHARACTER, ATMOSPHERE, IDENTITY This project in terms of active systems and how they can begin to follow the principles it baffles me. There is always a thought that there is no possible way that a system can be focusing on the space and character that it is creating, but alas, here we are. The space and character that has been developing in the atmospheres and spaces had been based on old Roman architecture. The mechanical systems will begin to do the same. They will follow the order and the space that are already being created and set in stone. is defined based on its courtyards and has a generally open layout. The mechanical system that will be put in place should not interrupt this. The system will be one that is simple and hidden but still based on older principles. There will be an identity to all the spaces within the mechanical systems as well because all the systems have different requirements for the program within the project. So, I guess this project is addressing the mechanical systems in a very careful way. carefully placing the systems where they won’t be seen or heard until the project wants them to be. With the character of these spaces, they will need certain requirements like instruments should be kept at 40–60 percent humidity within a room. This will help them to last longer. ORGANIZATION, ARTICULATION The organization of all these systems is extremely important to making sure that all the spaces are getting exactly what they need. All of these spaces are similar in program, but some will be used more than others or just simply need a little something more because of the amount of people. The organization of this project is based on the three courtyards and the spaces that they are beginning to define. The mechanical system will begin to do something similar, almost each wing will have its own system that is generating power based upon what that portion may need. The concerns that are arising for the mechanical sys-

tems within this project are, what is the best approach? Trying to answer these questions with solutions of using geothermal boreholes, a heat exchanger, heat pump and an ERV. This system will allow for the organization of the project to have different ventilation as well as a little more control over the temperature of the spaces. TECTONICS, MATERIALITY, DETAIL/HAPTICITY This project will start to see the mechanical systems as part of the facade. Within this project the materiality is focused on the smaller details and starting to look at material as an expression of what is trying to be accomplished. There is the question of how could the materials be relating to systems and what could happen with materiality and detail? Well the materials that make up instruments are more sensitive and when placed in dry environments it causes them to crack and become out of tune. So do this project to be as successful as it could be there needs to be a focus on the instruments rather than the people. the other detail that needs to be tackled is the placement of the systems. Where and how will the air circulate? What is the best delivery method? All of this will be resolved by having the floor have heated coils that release heat and attract heat. This will work in relation with an EVR. This will be placed in the center of the room or maybe towards the courtyard. Maybe that is how the air will be released and showing how this courtyard is also working as a natural ventilator. ENVIRONEMENTAL STEWARDSHIP Since active systems tend to be not the most environmentally friendly this project will try to take the best approach possible. Using boreholes to supply energy to the heating pumps which will then begin to heat and cool the project will be essential to the success of the system. The next situation will be ventilating system. This will be grabbing all the air that has been “used” and bring it down clean it to be redistributed. This system will only be put in place where it is needed Not every room within the project will need a full ventilation system. All of these will be placed in a way that is the more environmental and getting the most use out of the air that is being supplied. throughout the process of creating this system the project will establish a deeper level of understanding of what it is trying to accomplish through its principles. With a greater level of depth in this portion this will being to conclude the project and making sure that there is nothing that seems not thought through.

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During the day the building will be more active in the cafeteria lobby space and conservatory. Through the project will not have a set amount of people in every room so it will be hard to say therefore this system because it is a toss-up. This is when a system like decentralized ERV’s come into play they would have to circulate and regulate the environment within a given room. This will help to achieve comfort for everyone based upon what they would prefer.

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AFTERNOON

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The reason that the looking at how the space will be used throughout the day was an important study is because it begins to establish another level of thinking about the system and how it will function from a design standpoint. Yes, the spaces would be nice to accommodate specifically for instruments but that is just not as simple as it seems. The space needs to accommodate for the influx of people it could possibly have.

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EVENING

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When designing this project structurally there was Hole Deck set in place and this will be throughout the project. This is a product that allows duct work to run through its waffling ultimately leaving the ceiling blank. this is how ventilation and air will be delivered to help control what the temperature within each defined area.

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Another consideration would be the types of activities that will happen within a space, such as dancing. Dancing will produce a lot of heat so having a space that can adjust based upon how much heat will be given off by an individual is important. The main hall as I had noted earlier should also be a consideration of program because of the amount of people it could possibly hold.

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MORNING

In the morning the building will most likely not be as active but there should be some students and faculty within the project with maybe a few visitors. This means that there will not be as much body heat and will therefore affect the temperature of the overall space.

The night the project could be the most active in the main hall. Having hundreds of people within the space and learning how to go from having little to no one to having a great influx of people and making sure everyone is comfortable. This space will take special considerations based upon instruments as well.

FLOOR 03

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Since this project is trying to be as sustainable as possible it is important to look at the program within the Accademia. Looking at what are the spaces that will have a lot of movement and when they will have that movement. There is a multitude of program within this project and yes, they create come together nicely for instrumentalists to practice and perform in the same space but that means there will be spaces that are more used than others. Especially throughout the daytime.

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OCCUPIED SPACE

FLOOR 02

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FLOOR 02

FLOOR 01

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HOW MAIN HALL WILL BEGIN TO DEAL HEATING AND COOLING

DEFINITION OF ZONES Since there will be different needs in different locations it became important to begin to divide up the program in a way that made sense to the overall structure of the project. This meant that conservatory classrooms should be together and main hall should probably be on its own. There came a time to decide though and this included all the spaces, circulation, bathrooms and so on, Ultimately the decision of how to begin to group all this program was based on placement and the amount of people that will e coming and going within each space. It also was depending on what was happening within the space whether this be movement or simple storing instruments. There needs to be a balance between system and an overall understanding of why they are separated. Dividing the main hall on its own is simply for acoustical purposes. This is so there is no sound transfer from room to room when a performance is going on. Also, the system within the main hall needs to be able to be adaptable to what is happening within the space. This means adjusting to 0 to 300 people.

ZONE 01: MAIN HALL

ZONE 02: INSTRUMENT STORAGE / FIRSTAID / COAT ROOM / IT / BACKSTAGE

This zone will require a specific level of heating thorughout the day. The theater will not always need to be fully heated but when performances are happening we need to make sure that everythone can be comfortable

Within this zone there will be a lower level of heat needed. This is becasue the spaces are smaller with higher levels of people. Also there are rooms that will not be occupied at all times such as the coat room.

COOLING

This zone will require a specific level of cooling throughout the day. The theater will not always need to be fully heated but when performances are happening we need to make sure that everythone can be comfortable. A consideration that also should be taken is Rome’s weather and how it changes from season to season.

This cooling in this zone similar to the heating will need to be a lower level of cooling. For the same reason, this zone is filled with smaller spaces with a higher occupency load. One consideration that should be had in this zone is the instrument storage. The reason this is a big factor is intruments need to be stored in a room with 40-60% humidity.

VENTILATION

This space will need a high level of ventilation because of the program that it houses. With this zone holding a theater where there will be an influx of people at times it is important to make sure that the theater is comfortable for all and for the instruments.

HEATING

POTENTIAL SYSTEMS

Hybrid System Geothermal Heating

ZONE 03: LARGE & SMALL REHEARSAL ROOMS / INSTRUMENT STORAGE / CHOIR ROOM

ZONE 04: OFFICE SPACE / LOBBY SPACE / STORAGE

ZONE 05: MAINTENANCE AREA / BATHROOMS / STORAGE / LAUNDRY

The need for heating within this zone will be different depending on each room and the activites that will be happening. Meaning that a dance studio may not need to be as warm as a small rehersal room. There will never be a set number of people using the space so taking into consideration how the building will react to the influx of people.

Heating within this zone will need to be a more mild system. The reasoning for this is because there will be a set number of people within the office spaces and for the lobby they will have differing numbers that will be contributing as well as the kitchen which will had to the temperature of the space.

The heating in this zone will be minimal. The rooms that are within this zone are all ones that are based on the maintenance side of the building. Housing a locker room which will be heated by showers, laundry that will generate heat. So for this zone the amount of heat will not be as great.

The need for cooling within this zone will be different depending on each room and the activites that will be happening. The spaces that will need extra cooling will be where there is a lot of movement such as a dance studio. There will never be a set number of people using the space so taking into consideration how the building will react to the influx of people.

The cooling needs will be minimal witin this zone with the consideration of the kitchen and the main lobby spaces. There will need to ne considerations based on the season that they are in, winter will not need as much or any cooling but through the summer there will need to be more cooling.

The coooling that this space will need will be similar to heating but with the amount of heat being generated by the locker room and laundry there will maybe need to have a more medium of the road cooling system.

The ventilation needs in this space will be on the lower end but considerations for the backstage area and the instrument storage need to be considered.

There will need to be different levels of ventilation but will need a rather low level of it all around. Having control for each space would be ideal because people will come and go and there will always be different numbers of people within a space.

There will be a low leevl for ventilation throughout this zone. The reason for this is because of the natural ventilation that will be occuring. There would need to be a system set in place for when natural ventilation is not possible.

The ventilation that will need to be within this space will be based open which room and creating comfort for rooms by themselves. The locker room will need to be ventilated a little differently than the laundry but still have similar considerations with heating and cooling.

Hybrid System Radiant Heating and Cooling Geothermal Heating Any VAV or ERV system

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PROS

CONS

Conventinal All Air System

-High degree of temperature control within spaces -Economical to operate -Can balance itself -Simple to maintan

-Limited in range of heating and cooling -Cannot heat and cool simontaneously without help from another system -High level of pollution

Decentralized ERV

-Individual control -Compact design -Energy Efficient -Minimal noise if any

-Humidity control limited -Maintenance will be within the space -Visible grills on exterior

Radiant System

-Greater occupant comfort than all-air ayatem -more efficient than all-air system -Low maintenance -Works well with renewable energy

-No humidity and ventilation control -System needs to be installed properly -Malfunctions can be tricky to find -Temperature must be carefully controlled

Hybrid System

-Pipe and duct size can be controlled and managed -Energy efficient -System is efficient --Self-balancing

-High levels of pullution -Equipment size can vary -Needs routine maintenance

Geothermal Closed Loop

-Reliable system with low maintenance -Will use minimal water -Water quality and temperature control -Minimal cost to operate

-Costly to install -Routine Maintenance required -humidity control cannot be closely controlled

With the division of program and how the spaces are laid out it, it was time to begin to size ducts and figure out what will be needed to service the spaces. though this task seems boring it is an important part within the process and can begin to teach one about the placement and comfort within a space. Calculations for mechanical systems within each zone, including requirements for duct and considerations on cooling tons and amount of power that will be needed.

ZONE 01 MAIN HALL 9,613 SF x 23 BTU/hr/sf = 221,099 BTU/hr 221,099 BTU/hr / 12,000 = 18.42 Tons MAIN RETURN / SUPPLY : 15 SQFT SUPPLY BRANCHES : 25 SQFT LOUVER EXHAUST : 65 SQFT GEOTHERMAL: 50 BOREHOLES AT 150 FT 25 BOREHOLES AT 300 FT 14 BOREHOLES AT 600 FT 9 BOREHOLES AT 900 FT

ZONE 03 LARGE & SMALL REHEARSAL ROOMS / INSTRUMENT STORAGE / CHOIR ROOM Total SF = 34,538 34,538 SF x 23 BTU/hr/sf = 794,374 BTU/hr 794,374 BTU/hr / 12,000 = 66.197 Tons VENTILATION FOR ALL OCCUPIED SPACE = .4 CFM/SF *small rehearsal rooms will share an ERV the average SF for that is 400 sf* 400sf x .4 CFM/SF = 200 MAIN RETURN / SUPPLY : 11.5 SQFT SUPPLY BRANCHES : 12 SQFT LOUVER EXHAUST : 80 SQFT GEOTHERMAL: 60 BOREHOLES AT 150 FT 30 BOREHOLES AT 300 FT 15 BOREHOLES AT 600 FT 9 BOREHOLES AT 900 FT

ZONE 04 OFFICE SPACE / LOBBY SPACE / STORAGE Total SF = 8,611 8,611 SF x 23 BTU/hr/sf = 193,053 BTU/hr 193,053 BTU/hr / 12,000 = 16.5 Tons VENTILATION FOR ALL OCCUPIED SPACE = .4 CFM/SF MAIN RETURN / SUPPLY : 5.5 SQFT SUPPLY BRANCHES : 9 SQFT LOUVER EXHAUST : 12 SQFT GEOTHERMAL: 20 BOREHOLES AT 150 FT 10 BOREHOLES AT 300 FT 5 BOREHOLES AT 600 FT

ZONE 02 INSTRUMENT STORAGE / FIRSTAID / COAT ROOM / IT / BACKSTAGE Total SF = 36,211 36,211 SF x 23 BTU/hr/sf = 832,853 BTU/hr 832,253 BTU/hr / 12,000 = 69.4 Tons MAIN RETURN / SUPPLY : 11.5 SQFT SUPPLY BRANCHES : 12 SQFT LOUVER EXHAUST : 80 SQFT GEOTHERMAL: 60 BOREHOLES AT 150 FT 30 BOREHOLES AT 300 FT 15 BOREHOLES AT 600 FT 9 BOREHOLES AT 900 FT

ZONE 02 ZONE 03

ZONE 01 ZONE 04 ZONE 05

ZONE 05 MAINTENANCE AREA / BATHROOMS / STORAGE / LAUNDRY Total SF = 6,597 6,597 SF x 23 BTU/hr/sf = 151,731 BTU/hr 151,731 BTU/hr / 12,000 = 12.6 Tons VENTILATION FOR ALL OCCUPIED SPACE = .4 CFM/SF ZONE 02 ZONE 03

MAIN RETURN / SUPPLY : 4 SQFT SUPPLY BRANCHES : 7 SQFT LOUVER EXHAUST : 11 SQFT GEOTHERMAL: 20 BOREHOLES AT 150 FT 10 BOREHOLES AT 300 FT 5 BOREHOLES AT 600 FT

ZONE 01 ZONE 04 ZONE 05

3D MODEL OF MECHANICAL SYSTEM

MAIN HALL SECTION W/ MECHANICAL

CONSERVATORY SECTION W/ ERV AND RADIANT HEATING & COOLING

RETURN

5'X5'

2X2 DUCT 2X2 RETURN DUCT SUPPLY

DUCT

HEAT

4X4

IES

P SER

PUM

T 2X2

DUC SUPPLY

PIPING

HVAC

SYSTEM

5'X5'

HEAT

IES

RETURN

P SER

PUM

DUCT

SUPPLY

HEAT

DUCT

2X2

IES

P SER

PUM

5'-0"

5'X5'

5'-0"

5'X5'

2X2

PIPING

SITE PLAN TO SHOW BOREHOLE PLACEMENT

VICE

TO SER

IFOL

MAN

HEAT

PUM

IFOL

MAN

5'X5'

2X2 DUCT 2X2 RETURN DUCT SUPPLY

HVAC

VICE

TO SER

HEAT

PUM

8.1

'-3

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7.1

8 1

'-7 2"

2.1

Ø5'-6"

SUPPLY DUCT 2X2

Ø5'-6"

1" 59'-114

MECHANICAL - VENTILATION

RETURN DUCT 2X2

Ø5'-6"

1.1

1" 59'-114

1.1

1" 59'-114

1.1

'-5 3 8"

Ø5'-6"

'-5 3 8"

HEAT PUMPS

'-7 1 2" 12

A2-04

'-5

8 2.1

5'X5' HEAT PUMP SERIES SUPPLY DUCT SUPPLY DUCT 2X2

-2

3.1

'-5

RETURN DUCT 2X2 SUPPLY DUCT 2X2

7 '-3 8

5.1 4.1

3.1

-2

6' RETURN DUCT RETURN DUCT 4X4

'-5

6.1 3

-0

7" '-3 8

5.1 4.1

8 2.1

13 01

A2-04

-0

7" '-3 8

-2

'-5

0'-8 1 8"

" 29

'-5

0'-8 1 8"

" 29

'-5

0'-8 1 8" 13

6.1

5.1 4.1

3.1

7.1

MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS

MECHANICAL - SUPPLY DUCTS

HVAC SYSTEM HVAC SYSTEM

1" 10'-118

MECHANICAL - MANIFOLD

Ø5'-6"

11'-35 8"

5" 11'-38

MANIFOLD DUCTS

MECHANICAL - MANIFOLD

Ø5'-6"

PIPING TO SERVICE MANIFOLD HVAC SYSTEM HVAC SYSTEM

5'X5' HEAT PUMP SERIES

5 RETURN DUCT 2X2

5'X5' HEAT PUMP HEAT PUMP

SUPPLY DUCT 2X2

Ø5'-6"

-0

'-2 3

A.1

Ø5'-6"

" 4

'-2 3 4"

Ø5'-6"

222'-0" 68'-37 8"

68'-37 8"

B.1

222'-0"

A.1

'-2 3 4"

B.1

68'-37 8"

222'-0"

A.1

B.1

'-1

1" 18

'-1

135°

HEAT PUMPS 5'X5' HEAT PUMP SERIES

C.1

C.1 4

'-1 1 8"

7" 8 1'-7

1" 20'-08

7" 8 1'-7

5'-0"

1" 20'-08

5'X5' HEAT PUMP HEAT PUMP

MECHANICAL - MANIFOLD

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29'-9"

3" 9'-118

14'-7"

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1" 20'-64

10'-55 8"

15'-63 4"

1" 39'-112

30'-2"

241'-55 8"

3" 29'-118

11'-83 4"

18'-97 8"

30'-47 8"

12'-83 4"

7" 17'-18

3" 9'-118

14'-7"

15'-63 4"

10'-55 8"

1" 39'-112

30'-2"

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

241'-55 8"

FIRST FLOOR - RADIANT

EDGE OF SLAB

A2-04

12'-83 4"

7" 17'-18

EDGE OF SLAB

A2-04

30'-47 8"

PLUMBING FOR LOCKER ROOM

Ø5'-6"

EDGE OF SLAB

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3" 29'-118

11'-83 4"

7" 18'-98

Ø5'-6"

G.1

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29'-9" °

1" 20'-64

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1" 39'-112

30'-2"

F.1

PLUMBING FOR LOCKER ROOM

Ø5'-6"

EDGE OF SLAB

1" '-7 2

1" '-7 2 Ø5'-6"

G.1

BASMENT

01 A2-03

1" '-7 2

F.1 2

G.1

1" '-6 8

01 A2-03

F.1

D.1

E.1

1" '-6 8

01 A2-03

1" '-6 8

E.1

1" '-2 2

D.1

MANIFOLD DUCTS PIPING TO SERVICE MANIFOLD

1" '-2 2

E.1

D.1

'-1 1 8"

1" 20'-08

5'-0"

C.1

FIRST FLOOR - ERV / HVAC

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

10'-55 8"

8.1

'-3

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7.1 "

'-3

0'-3

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7.1

'-5

13 0' -8 1 8"

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7.1

" '-5

'-5 3 8"

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'-7 1 2"

-0

10 "

6'-2

3.1

2.1

'-5

0'-8 1 8" 01

'-5

7" '-3 8

5.1 4.1

3.1

A2-04

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'-7 1 "

6.1

-2

A2-04

-0

4.1

7" '-3 8

5.1

'-5

2.1

6.1

-2

6' "

3.1

4.1

7" '-3 8

5.1

-8 1 8"

-0

A2-04

6.1

1'-5

Ø5'-6"

'-7 1 "

Ø5'-6"

'-5 3 8"

Ø5'-6"

MECHANICAL - SUPPLY DUCTS MECHANICAL - VENTILATION

'-5 3 8"

1" 59'-114

1.1

MECHANICAL - RETURN DUCTS

1" 59'-114

MECHANICAL - VENTILATION

2.1

1.1

1.1 MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

MECHANICAL - VENTILATION

7 MECHANICAL - RETURN DUCTS

1" 10'-118

MECHANICAL - MANIFOLD

MECHANICAL - SUPPLY DUCTS

6 1" 10'-118

11'-35 8"

MECHANICAL - MANIFOLD

5 5" 11'-38

Ø5'-6"

A.1

-0

Ø5'-6"

'-2 3 4

7" 68'-38

222'-0"

Ø5'-6"

A.1

-0

'-2 3 4"

Ø5'-6"

68'-37 8"

1" 18

'-1

222'-0"

B.1

A.1

-0

1" 18

'-1

'-2 3 4"

C.1

B.1

'-1 1 8"

1" 20'-08

1" 18

'-1

7" -7 8

C.1 4

'-1 1 8"

1" 20'-08

MECHANICAL - MANIFOLD

29'-9"

01 A2-03

D.1

C.1

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'-1 1 8"

29'-9"

01 A2-03

7" 8 1'-7

1" '-6 8

1" '-7 2

E.1

F.1

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01 A2-03

1" '-2 2

1" '-6 8

E.1

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1" '-2 2

D.1

7" -7 8

MECHANICAL - MANIFOLD

A2-03

1" 20'-64

G.1

Ø5'-6"

1" 20'-64

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A2-04

3" 9'-118

14'-7"

15'-63 4"

12'-83 4"

17'-17 8"

10'-55 8"

A2-04

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30'-47 8"

F.1

A2-03

1" '-7 2

29'-113 8"

11'-83 4"

18'-97 8"

E.1

Ø5'-6"

1" 39'-112

30'-2"

D.1

1" '-6 8

Ø5'-6"

1" '-2 2

F.1 Ø5'-6"

1" '-7 2

G.1

1" 39'-112

30'-2"

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

10'-55 8"

241'-55 8"

M 01

241'-55 8"

SECOND FLOOR - RADIANT

SECOND FLOOR - ERV / HVAC

THIRD FLOOR - HVAC

A2-04

STRUCTURE + MECHANICAL

4 APPENDICES

ACCADEMIA PHILHARMONICA ROMANA EMMA MEIER-LUINENBURG ARCH 513 INTEGRATED PROJECT DESIGN STUDIO | FALL 2021 PROF. ROBERTO VIOLA-OCHOA

BLACK & WHITE DRAWING SET A0 series: · A0-01 General reference · A0-02-Site plan regional · A0-03-Site plan · A0-03-Code · A0-04-Code A1 series: · A1-00-Basement Floor plan · A1-01-First Floor plan · A1-02-Second Floor plan · A1-03-Third Floor plan · A1-04 Roof plan A2 series: · A2-01-Building Elevations · A2-02-Building Elevations · A2-03-Building sections · A2-04-Building sections · A3 series: · A3-01-Composite Drawing · A3-02-Axonometric of Assembly

S0-Series · S0-01-General Narrative S1-Series · S1-01-Basement Foundation · S1-02 -Basement · S1-03-Foundation · S1-04-First Floor · S1-05-Second Floor · S1-06-Third Floor S2- Series · S2-01-Structural Axonometric M0-Series · M0-01-General Narrative · M0-02 -Mechanical Site Plan M1-Series · M1-00 -Basement · M1-01 -First Floor Radiant Heating and Cooling · M1-1.1-First Floor Duct Work Plan · M1-02 -Second Floor Radiant Heating and Cooling · M1-2.1-Second Floor Duct Work Plan · M1-3-Third Floor M2-Series · M2-01-Mechanical Axonometric

AWING SET

S0-Series

· S0-01-General Narrative

S1-Series

· S1-01-Basement Foundation · S1-02 -Basement · S1-03-Foundation · S1-04-First Floor · S1-05-Second Floor · S1-06-Third Floor

ACCADEMIA PHILHARMONICA ROMANA EMMA MEIER-LUINENBURG ARCH 513 INTEGRATED PROJECT DESIGN STUDIO | FALL 2021 PROF. ROBERTO VIOLA-OCHOA

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

N/A

DATE :

12/10/2021

RENDERS

A0-01

VILLA GUILIA

ACADEMIA FILARMONICA ROMANA

PIAZZA DEL POPOLO

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

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BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

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EXIT #6 1 doors @ 36in. ea. 36in egress total RECORDING-STUDIO INSTRUCTORS-LOUNGE

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IT MAIN-HALL/STAGE

350 150 People on this floor for the Main Hall

LARGE-REHEARSAL-ROOM

Ø5'-6"

100 People on this floor for the Main Hall

LARGE-REHEARSAL-ROOM

MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

DANCE-STUDIO

INSTRUMENT-STORAGE

BACKSTAGE 60

COAT-ROOM

INSTRUMENT-STORAGE

Elevation A-ELEV-___1 A-ELEV-___2 A-ELEV-___3 A-ELEV-___4 A-ELEV-___5

MECHANICAL - MANIFOLD

EXIT #7 2 doors @ 36in. ea. 72in egress total

PATIO 117

380

100 People on this floor for the Main Hall

FIRSTAID

MAIN-HALL/STAGE

DANCE-STUDIO

380

Ø5'-6"

EXIT #6 1 doors @ 36in. ea. 36in egress total

MAIN-HALL/STAGE

EXIT #6 1 doors @ 36in. ea. 36in egress total

PATIO 79

SECONDARY-HALL

14 Ø5'-6"

SECONDARY-HALL

Ø5'-6"

LOCKER-ROOM

A-ELEV-___6 A-ELEV-___7 A-ELEV-___8 A-ELEV-___9 A-ELEV-_H80 A-ELEV-_H40 A-ELEV-HDDN A-ELEV-HDN2

SECURITY

INSTRUMENT-STORAGE 12

4 EXIT #2 2 doors @ 36in. ea. 72in egress total

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BAR

STAFF-ENTRANCE

STORAGE

LOCKER-ROOM

LOBBY 132

MECHANICAL - MANIFOLD

SMALL-REHEARSAL-ROOM 116/8

OFFICES(5)

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EXIT #1 2 doors @ 36in. ea. 72in egress total

LAUNDRY-ROOM

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RECEPTION

PATIO REHEARSAL-ROOM-CHOIR

80 CA012

Ø5'-6"

EXIT #3 2 doors @ 36in. ea. 72in egress total

OCCUPANCY LOAD CALCULATIONS

KITCHEN-STORAGE

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KITCHEN/COMMERCIAL : 200 GROSS STORAGE/MECHANICAL : 300 GROSS STAGES/PLATFORMS : 15 NET LOCKER ROOMS : 50 GROSS EXERCISE ROOMS : 50 GROSS BUSINESS AREAS : 150 GROSS UN-CONCENTRATED :15 NET VOCATIONAL ROOM : 50 NET

SMALL-REHEARSAL-ROOM

Ø5'-6"

116/8

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CAFETERIA

TRASH

MECHANICAL-STORAGE

KITCHEN

MEETING-ROOM

STAFF-ROOM

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DISTANCE TO CLOSEST EXIT: 239 '0" DISTANCE TO NEAREST STAIR: 291' 0"

FIXTURES FOR PUBLIC AND CHAMBER MUSIC HALL : 18 FIXTURES FIXTURES ON THIS FLOOR : 8

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FIXTURES FOR CHAMBER MUSIC HALL :18 FIXTURES ON THIS FLOOR : 8 HALL LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR

MAIN-HALL/STAGE

FIXTURES FOR CHAMBER MUSIC HALL : 18 FIXTURES ON THIS FLOOR : 8 THEATER LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR

Ø5'-6"

350 100 People on this floor for the Main Hall

DISTANCE TO NEAREST STAIR: 195' 0"

MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

SECONDARY-HALL

MECHANICAL - MANIFOLD

40 FIXTURES FOR CONSERVATORY : 19 FIXTURES GIVEN ON THIS FLOOR : 6 FIXTURES NOT GIVING AS MANY AS NEEDED BECAUSE OF

Ø5'-6"

STAIR WIDTH NEEDED : 12" STAIR WIDTH PROVIDED : 48"

STAIR WIDTH NEEDED : 37.5" STAIR WIDTH PROVIDED : 48" DISTANCE TO NEAREST STAIR: 199' 0" CA012

DISTANCE TO NEAREST STAIR: 167' 0"

CA012

MECHANICAL 01: 4324 SQFT / 300 = 15 MECHANICAL 02 : 3186 SQFT / 300 = 11 LOBBY : 1975 SQFT / 15 = 132 PATIO 01 - PUBLIC : 1183 SQFT / 15 = 79 PATIO 02 - CONSERVATORY : 1750 SQFT / 15 = 117 PATIO 03 - CHAMBER HALL : 1176 SQFT / 15 = 79 BAR : 316 SQFT / 15 = 22 CAFETERIA : 722 SQFT / 15 = 49 FIRST AID STATION : 1351 SQFT / 150 = 9 COAT ROOM : 1482 SQFT / 50 = 30 SECURITY ROOM : 580 SQFT / 150 = 4 RECEPTION / INFO : 1149 SQFT / 150 = 8 KITCHEN STORAGE : 139 SQFT / 300 = 2 KITCHEN : 305 SQFT / 200 = 2 MAIN STAGE : 1180 SQFT / 15 = 79 INSTRUMENT STORAGE - FL 01 : 2037.54 SQFT / 300 = 7 BACKSTAGE : 3036.04 SQFT / 50 = 61 IT ROOM 01 : 1890 SQFT / 150 = 13 LOCKER ROOM : 2546 SQFT / 50 = 51 WASTE ROOM / RECYCLING : 348 SQFT / 300 = 2 EQUIPMENT ROOM : 713 SQFT / 300 = 3 LAUNDRY ROOM : 1038 SQFT / 300 = 4 LOCKER ROOM : 595 SQFT / 50 = 12 OFFICE : 3824 SQFT / 150 = 26 MEETING ROOM : 3339 SQFT / 150 = 23 STAFF CLOSET : 3962 SQFT / 300 = 14 COFFEE ROOM : 3333 SQFT / 300 = 23 STAFF ENTRANCE : 122 SQFT / 300 = 1 IT ROOM 02 : 2012 SQFT / 150 = 14 INSTRUMENT STORAGE - FL 02 : 3030 SQFT / 300 = 11 INSTRUCTOR / MANAGEMENT LOUNGE : 2136 SQFT / 150 = 15 RECORDING STUDIO : 1094 SQFT / 50 = 22 DANCE STUDIO 01 : 2607 SQFT / 50 = 54 DANCE STUDIO 02 : 2112 SQFT / 50 = 43 INSTRUMENT STORAGE - CONSERVATORY : 3481 SQFT / 300 = 12 SMALL REHEARSAL ROOM : 2848 SQFT / 50 = 116

MECHANICAL - MANIFOLD

CA012

DISTANCE TO CLOSEST EXIT: 143' 0"

CA012

STAIR WIDTH NEEDED : 62.4" STAIR WIDTH PROVIDED : 48"

DISTANCE TO CLOSEST EXIT: 263' 0" Ø5'-6"

Ø5'-6"

CA012 CA012

FIXTURES FOR MANAGEMENT : 5 FIXTURES FIXTURES ON THIS FLOOR : 6

FIXTURES FOR CONSERVATORY : 19 FIXTURES GIVEN ON THIS FLOOR : 6 FIXTURES NOT GIVING AS MANY AS NEEDED BECAUSE OF

FIXTURE DISTRIBUTION AND COMPARISON

STAIR WIDTH NEEDED : 41.7" STAIR WIDTH PROVIDED : 48"

DISTANCE TO NEAREST STAIR: 167' 0"

CA012

DIAGONAL: 159' 0" CA012

DIAGONAL: 96' 7"

DIAGONAL: 159' 0"

DIAGONAL: 59' 8"

DIAGONAL: 58' 10" DIAGONAL: 110' 3" CA012

'-8

Ø5'-6"

FIRST FLOOR PUBLIC + CHAMBER HALL FIXTURES NEEDED : 18 FIXTURES PROVIDED : 8 MAYBE ADD MORE CLOSER TO THE PUBLIC CONSERVATORY FIXTURES NEEDED :19 FIXTURES PROVIDED : 6 NOT GIVING AS MANY AS NEEDED BECAUSE OF THE LOCKER ROOM SECOND FLOOR CHAMBER HALL FIXTURES NEEDED : 2 FIXTURES PROVIDED : 8 HALL LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR MANAGEMENT FIXTURES NEEDED : 5 FIXTURES PROVIDED : 6 CONSERVATORY FIXTURES NEEDED : 19 FIXTURES PROVIDED : 6 NOT GIVING AS MANY AS NEEDED BECAUSE OF THE LOCKER ROOM THIRD FLOOR CHAMBER HALL FIXTURES NEEDED : 2 FIXTURES PROVIDED : 8 HALL LAYOUT MAY CAUSE MORE PEOPLE ON THIS FLOOR

Ø5'-6"

DIAGONAL: 199' 3" MECHANICAL - VENTILATION

26'-51 8"

25'-101 8" MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

DIAGONAL: 190' 7"

MECHANICAL - MANIFOLD

Ø5'-6"

DIAGONAL: 63' 7" CA012

STAIR WIDTH

CA012

1 28'-98"

DIAGONAL: 68' 4" MECHANICAL - MANIFOLD

CA012

DIAGONAL : 28' 5" CA012

DIAGONAL: 110' 2"

Ø5'-6"

CA012

BLACK & WHITE SET

CA012

SECOND FLOOR CHAMBER HALL WIDTH NEEDED : 37.5" WIDTH PROVIDED : 48" CONSERVATORY WIDTH NEEDED : 62.4" WIDTH PROVIDED : 48" MANAGEMENT WIDTH NEEDED : 41.7" WIDTH PROVIDED : 48" THIRD FLOOR CHAMBER HALL WIDTH NEEDED : 12" WIDTH PROVIDED : 48" BASEMENT CHAMBER HALL WIDTH NEEDED : 4.5" WIDTH PROVIDED : 48" CONSERVATORY WIDTH NEEDED : 3.3" WIDTH PROVIDED : 48"

DIAGONAL: 96' 9"

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

1/32" = 1'-0"

DATE :

12/10/2021

CODE

A0.04

BACKSTAGE 113

LOCKER-ROOM 116

Ø5'-6

INSTRUMENT-STORAGE 112

Ø5'-6"

PLUMBING FOR LOCKER ROOM

90 °

Ø5'-6"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/8" DATE :

= 1'-0"

12/10/2021

BATHROOM

A0-05

8.1 A2-02 01

" '-3

0'-

'-5

81 8"

7.1

4.1

3.1

-0

7" '-3 8

5.1

A2-04

6.1

10 2"

6'-

RETURN DUCT

1 2"

8 '-7

2.1

SUPPLY DUCT

30 '-5 3 8"

HEAT PUMPS

1" 59'-114

1.1

HVAC SYSTEM

1" 10'-118

5" 11'-38

6 HVAC SYSTEM

MANIFOLD DUCTS

5 HEAT PUMP

'-2 3 4"

68'-37 8"

222'-0"

A.1

B.1 A2-01

A2-01

135

1" 18

'-1

HEAT PUMPS

C.1 40

'-1 1 8"

HEAT PUMP

1" 20'-08

7" 78

1'-

1" '-2 2 10

D.1

MANIFOLD DUCTS

1" '-6 8

E.1

29'-9"

01 A2-03

1" '-7 2

F.1

G.1

1" 20'-64

01 02

1" 39'-112

30'-2"

A2-02

29'-113 8"

11'-83 4"

18'-97 8"

7" 30'-48

A2-04

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

5" 10'-58

15'-63 4"

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FL-BSMT

A1-00

8.1 A2-02 01

'30

CA012

0'-

'-5

81 8"

7.1

4.1

6'-

" '-5

3.1

-0

7 '-3 8

5.1

A2-04

6.1

111

12 '-7 1 2"

'-5 3 8"

2.1

MAIN-HALL+STAGE

Ø5'-6"

114

Ø5'-6"

1.1

1" 59'-114

LARGE-REHEARSAL-ROOM LARGE-REHEARSAL-ROOM

115

120 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

BACKSTAGE 113

1" 10'-118

MECHANICAL - MANIFOLD

Ø5'-6"

11'-35 8"

6 FIRSTAID 110

5 INSTRUMENT-STORAGE 112

Ø5'-6"

COATROOM 109

A.1

-0

Ø5'-6"

222'-0"

'-2 3 4

108

A2-01

68'-37 8"

SECURITY

B.1

LOCKER-ROOM 118

A2-01

LAUNDRY-ROOM

39 1" 18

'-1

117 LOCKER-ROOM 118

RECEPTION 102

C.1 4

'-1 1 8"

1" 20'-08

7" 78

1'-

14 ENTRANCE 106 MECHANICAL - MANIFOLD

CA012

1" '-2 2

D.1

LOCKER-ROOM 116

19 BAR 01

REHEARSAL-ROOM-CHOIR

107

LOBBY

A2-03

29'-9"

1" '-6 8

E.1

119

101

01 A2-03

1" '-7 2

F.1

Ø5'-6"

PLUMBING FOR LOCKER ROOM

Ø5'-6"

CA012

G.1

EDGE OF SLAB

STORAGE

CAFETERIA

EQUIPMENT-STORAGE

TRASH

103

KITCHEN

1" 20'-64

105

121

122

104

CA012

01 02

1" 39'-112

30'-2"

A2-02

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

A2-04

EDGE OF SLAB

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

10'-55 8"

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FL-1

A1-01

8.1 A2-02 01

3 0'-

CA012

13 0'81 8"

29 '-5 "

7.1

4.1

-0

7" '-3 8

5.1

A2-04

6.1

6'-

" '-5

3.1

12 '-7 1 "

CA012

2.1

INSTRUCTOR/MANAGER-LOUNGE 216

DANCE-02-REHEARSAL-ROOM 210

'-5 3 8"

RECORDING-STUDIO 221

Ø5'-6"

1" 59'-114

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

DANCE-01-REHEARSAL-ROOM 209

IT 223

INSTRUMENT-STORAGE

7 1" 10'-118

222

MECHANICAL - MANIFOLD

5" 11'-38

SMALL-CONCERT-HALL 224

Ø5'-6"

-0

'-2 3 4"

Ø5'-6"

68'-37 8"

222'-0"

A.1

B.1 A2-01

A2-01

1" 18

'-1

39 INSTRUMENT-STORAGE 220

C.1 OFFICE

OFFICE

207

208

206

'-1 1 8"

SMALL-REHEARSAL-ROOM

212

211

1" 20'-08

7" 78

1'-

14 SMALL-REHEARSAL-ROOM

MECHANICAL - MANIFOLD

STORAGE

1" '-6 8

E.1

CA012

1" '-2 2

D.1

203

1" '-7 2

F.1

29'-9"

01 A2-03

SMALL-REHEARSAL-ROOM

219

218

SMALL-REHEARSAL-ROOM

217

215

214

213

A2-03

OFFICE

204

205

1" 20'-64

G.1

Ø5'-6"

MEETING-ROOM

STAFF-ROOM

201

202

Ø5'-6"

1 01

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

A2-04

CA012

1" 39'-112

30'-2"

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

10'-55 8"

15'-63 4"

241'-55 8"

02 A2-02

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FL-2

A1-02

8.1 A2-02 01

'30

CA012

0'81 8"

29 '-5 "

7.1

4.1

-0

7" '-3 8

5.1

A2-04

6.1

6'-

5 1'-

3.1

1 2"

'-7

2.1

'-5 3 8"

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

SMALL-CONCERT-HALL 224

A.1

-0

'-2 3

" 4

B.1 A2-01

A2-01

1" 18

'-1

39 CA012

C.1 40

'-1 1 8"

7" 78

1'-

14 1" '-2 2

D.1

19 1" '-6 8

E.1

A2-03

1" '-7 2

F.1

A2-04

G.1

02 A2-02

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FL-3

A1-03

8.1 A2-02 01

" '-3

0'-

81 8"

29 '-5 "

7.1

4.1

3.1

-0

7 '-3 8

5.1

A2-04

6.1

10 2"

6'-

1 2"

8 '-7

2.1

30 '-5 3 8"

1" 59'-114

1.1

1" 10'-118

11'-35 8"

1' DIAMETER RAIN WATER DRAIN

A.1

'-2 4

68'-37 8"

222'-0"

1' DIAMETER RAIN WATER DRAIN

B.1 A2-01

A2-01

135

1" 18

'-1

C.1 4

'-1 1 8"

1" 20'-08

7" 78

1'-

14 1" '-2 2 10

1" '-6 8

E.1

1' DIAMETER RAIN WATER DRAIN

29'-9"

D.1

A2-03

01 A2-03

1" '-7 2

F.1

G.1

1" 20'-64

01 02

1" 39'-112

30'-2"

A2-02

29'-113 8"

11'-83 4"

18'-97 8"

7" 30'-48

A2-04

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

5" 10'-58

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FL-ROOF

A1-04

15'-0"

48'-81 2"

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

2'-71 8"

15'-33 8"

TOP 47'-10"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

1'-41 8"

14'-43 4"

FLOOR-02 15'-0"

West Elevation 1/8" = 1' 0"

15'-0"

48'-81 2"

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

2'-71" 8

15'-33 8"

TOP 47'-10"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

1'-41 8"

14'-43 4"

FLOOR-02 15'-0"

BLACK & WHITE SET

East Elevation 1/8" = 1' 0"

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 1/8" DATE :

= 1'-0"

12/10/2021

BUILDING ELEVATIONS

A2-01

15'-0"

48'-81 2"

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

1" 2'-78

15'-33 8"

TOP 47'-10"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

1'-41 8"

14'-43 4"

FLOOR-02 15'-0"

South Elevation 1/8" = 1' 0"

15'-0"

48'-81 2"

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

2'-71" 8

15'-33 8"

TOP 47'-10"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

1'-41 8"

14'-43 4"

FLOOR-02 15'-0"

North Elevation 1/8" = 1' 0"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 1/8" DATE :

= 1'-0"

12/10/2021

BUILDING ELEVATIONS

A2-02

8.1

7.1

6.1

5.1

4.1

3.1

2.1

1.1

15'-33 8"

TOP 47'-10"

LOBBY -

48'-81 2"

2'-71" 8

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

SUPPLY AND RETURN DUCTS SEE MAINTENANCE PLAN

15'-0"

MAIN-HALL

LOBBY

114

FLOOR-02 15'-0"

14'-43 4"

SUPPLY DUCT REFER TO MAINTENANCE DRAWINGS

COAT-CLOSET

LOBBY

109

1'-41 8"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

14'-31 8"

MAIN RETURN VENT REFER TO MAINTENANCE DRAWINGS

MAIN SUPPLY VENT REFER TO MAINTENANCE DRAWINGS

HVAC TO SERVICE MAIN HALL SEE REFER TO MAINTENANCE DRAWING

HVAC TO SERVICE MAIN HALL SEE REFER TO MAINTENANCE DRAWING BASEMENT -15'-0"

Main Hall 1/8" = 1' 0"

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

2'-71" 8

15'-33 8"

TOP 47'-10"

OFFICE-SPACE 15'-0"

48'-81 2"

SMALL-REHEARSAL-ROOM

219

218

217

216

215

213

FLOOR-02 15'-0"

14'-31 8"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

ERV SUPPLY AND RETURN REFER TO MAINTENANCE DRAWINGS LOBBY 101

RETURN VENTS FOR EVERY INDIVIDUAL STALL REFER TO MAINTENANCE DRAWINGS

LOCKER-ROOM

REHEARSAL-ROOM-CHOIR

MANIFOLD REFER TO MAINTENANCE DRAWINGS

116

119

1'-41 8"

14'-43 4"

ERV SUPPLY AND RETURN REFER TO MAINTENANCE DRAWINGS

HEAT PUMP REFER TO MAINTENANCE DRAWINGS

BASEMENT -15'-0" CONTINUOUS FOUNDATION 01

Division between Public and Private 1/8" = 1' 0"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 1/8" DATE :

= 1'-0"

12/10/2021

SECTIONS

A2-03

48'-81 2"

TOP-OF-ROOF 32'-7" FLOOR-03 30'-0"

2'-71" 8

15'-33 8"

TOP 47'-10"

15'-0"

SMALL-REHEARSAL-ROOM

SUPPLY DUCT REFER TO MAINTENACNE DRAWING

RECORDING-STUDIO

217

221

FLOOR-02 15'-0"

14'-43 4"

SUPPLY DUCT REFER TO MAINTENANCE DRAWING REHEARSAL-ROOM-CHOIR

120

14'-31 8"

FIRST-FLOOR 0'-0" FIRST-FLOOR -1'-4"

SUPPLY DUCT FROM ERV REFER TO MAINTENANCE DRAWINGS LARGE-REHEARSAL-ROOM

1'-41 8"

119

CONTINUOUS FOUNDATION

BASEMENT -15'-0"

BLACK & WHITE SET

Through Conservatory 1/8" = 1' 0"

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 1/8" DATE :

= 1'-0"

12/10/2021

SECTIONS

A2-04

SPOTELEV 32'-2"

12 5

10"

3'-3"

14'-11"

1'-2"

2'-3"

SPOTELEV 29'-1"

4 1'-8"

1'-2"

2'-3"

SECOND-FLOOR 14'-2"

14'-2"

3 GROUND-FLOOR 0'-0" 1'-3"

2 8

ON-GRADE -1'-3"

2 - TYPICAL OUTDOOR PATIO ASSEMBLY -4X4 STONE TILES -1/2” GROUT -6” GRAVEL -RAMMED EARTH 3 - TYPICAL SLAB ON GRADE ASSEMBLY -WOOD FINISH -1“ CONCRETE SLAB -RAIDIANT HEATING AND COOLING -3/4” PLYWOOD -2x4” WOOD STEPPERS -4” CONCRETE SLAB -6” GRAVEL -RAMMED EARTH 4 - TYPICAL FLOOR ASSEMBLY -WOOD FINISH -1“ CONCRETE SLAB -RAIDIANT HEATING AND COOLING -3/4” PLYWOOD -2X4 WOODEN STEPPERS -HOLEDECK XL (CUSTOM SIZING) 5 - TYPICAL ROOF ASSEMBLY -GREEN ROOF WATERING SYSTEM FROM LANGLEY -3” INSULATION -3/4”SHEATHING -VAPOR BARRIER -HOLEDECK XL 6 - TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -CAST IN PLACE CONCRETE FOOTING 7 - METAL FLASHING 8 - 1/20” SLOPE 9. GUTTER TO CONTROL RAIN WATER 10. METAL TIE TO SECURE MESH FACADE 11. LEVELING OF GROUND TO PREPARE FOR MESH PANEL SYSTEM CAST IN PLACE CONCRETE 12. CONNECTION FOR MESH PANEL FACADE

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 1/2" DATE :

= 1'-0"

12/10/2021

COMPOSITE DRAWING

A3-01

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 1/2" DATE :

= 1'-0"

12/10/2021

COMPOSITE DRAWING

A3-02

STRUCTURE GENERAL NARRATIVE

This project is load bearing wall construction, the walls that will be taking the load will be made up of 14” cast in place concrete. The flooring system is HOLEDECK, this is a product that is able to span long distances because of how it is constructed, it is a type of waffle slab. This will also be cast in place concrete. Around the courtyard there will be steel columns that are 2X2” and placed every two feet. This will allow for the structure to seem lighter.

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

STRUCTURE

S0-01

8.1

'-3

0'-

29 '-5 "

7.1

6.1 "

'-4

5.1 4.1

6'-

3.1

'11

90°

59'-11"

'-5 "

'-8

2.1

CONTINUOUS FOOTING. 4' WIDE MEETS THE LOAD BEARING WALLS

10'-11"

7 2' WIDE FOUNDATION

11'-4"

'-3

68'-4"

222'-0"

A.1

B.1

135

'-1

39 2' WIDE FOUNDATION

C.1 4

'-1

20'-0"

1'-

" '-2 10

D.1

29'-9"

" '-6

E.1

FOOTING THAT IS STEPPING DOWN FROM FLOOR LEVEL

2' WIDE FOUNDATION

'10

F.1

20'-6"

G.1

FOOTING THAT IS STEPPING DOWN FROM FLOOR LEVEL

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

241'-6"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

BASEMENT FOUNDATION

S1-01

8.1

'-3

13 0'8"

'-5

7.1

6.1 "

'-4

5.1 4.1

2 6'-

DOOR OPENING 36"

'-5

3.1

12 '-8 "

30 '-5 "

2.1

90°

59'-11"

1.1

10'-11"

11'-4"

OPENING FOR HVAC AIR INTAKE AND EXHAUST 25'

'-3

" 222'-0"

A.1

OPENING FOR HVAC AIR INTAKE AND EXHAUST 25'

68'-4"

DOOR OPENING 36"

B.1

135

'-1

C.1 4

'-1

20'-0"

1'-

14 DOOR OPENING 36"

'10

D.1

29'-9"

" '-6

E.1

" '-7 10

F.1

20'-6"

G.1

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

241'-6"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

BASEMENT

S1-02

8.1

'-3

0'-

29 '-5 "

7.1

6.1 "

'-4

5.1 4.1

6'-

3.1

CONTINUOUS FOOTING. 4' WIDE MEETS THE LOAD BEARING WALLS

'11

'-5

'-8

2.1

90°

59'-11"

1.1

FOOTING STEPPING DOWN TO MEET BASEMENT FLOOR

LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

7 10'-11"

FOOTING STEPPING DOWN TO MEET BASEMENT FLOOR

11'-4"

LOAD-BEARING COLUMN THAT CONTINUES TO BASEMENT

LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

'-3

LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

222'-0"

A.1

68'-4"

LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

B.1

135

'-1

39 LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

C.1

LOAD-BEARING WALL THAT CONTINUES TO BASEMENT

LOAD-BEARING COLUMN THAT CONTINUES TO BASEMENT

'-1

20'-0"

1'-

14 FOOTING STEPPING DOWN TO MEET BASEMENT FLOOR

FOOTING STEPPING DOWN TO MEET BASEMENT FLOOR

'-2

10 '19

E.1

LOAD-BEARING COLUMN THAT CONTINUES TO BASEMENT

'10

F.1

29'-9"

D.1

FOOTING STEPPING DOWN TO MEET BASEMENT FLOOR

20'-6"

G.1

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

241'-6"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FOUNDATION PLAN

S1-03

8.1

'-3

DOOR OPENING 36"

0'8"

29 '-5 "

7.1

6.1 "

'-4

5.1 4.1

EDGE OF SLAB

6'-

EDGE OF SLAB

DOOR OPENING 36"

'-5

3.1

EDGE OF SLAB

'-8 "

8 12

2.1

'-5

DOOR OPENING 72" DOOR OPENING 36"

59'-11"

1.1

90°

DOOR OPENING 36"

DOOR OPENING 72" DOOR OPENING 72"

10'-11"

DOOR OPENING 36"

11'-4"

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

EDGE OF SLAB

'-3

" DOOR OPENING 36"

DOOR OPENING 36"

222'-0"

A.1

68'-4"

DOOR OPENING 36"

B.1 135 °

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

'-1

EDGE OF SLAB DOOR OPENING 36"

CAST IN PLACE CONCRETE SLAB

C.1 EDGE OF SLAB

'-1

20'-0"

1'-

14 DOOR OPENING 72"

DOOR OPENING 36"

'-2

D.1

EDGE OF SLAB

DOOR OPENING 36"

E.1

29'-9"

" '-6

EDGE OF SLAB

'-7

F.1

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

DOOR OPENING 36"

G.1

20'-6"

EDGE OF SLAB

DOOR OPENING 36" EDGE OF SLAB

30'-2"

39'-11"

18'-10"

EDGE OF SLAB

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

241'-6"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

FIRST FLOOR

S1-04

8.1

'-3

7.1

0'-

29 '-5 "

DOOR OPENING 36"

6.1 "

'-4

5.1 4.1

EDGE OF SLAB

6'-

DOOR OPENING 36"

'-5

3.1

ALL WALLS WILL BE 14" AND CLAY BLOCK CONSTRUCTION EDGE OF SLAB

8 12

'-8

2.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-5 "

DOOR OPENING 72" DOOR OPENING 36"

1.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

59'-11"

EDGE OF SLAB HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

DOOR OPENING 36" EDGE OF SLAB

90°

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 72"

SOLID CONCRETE

7 10'-11"

SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

6 11'-4"

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

DOOR OPENING 36"

SOLID CONCRETE EDGE OF SLAB

EDGE OF SLAB

'-3

222'-0"

A.1

68'-4"

DOOR OPENING 36"

B.1 135 °

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-1

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

C.1 EDGE OF SLAB

DOOR OPENING 120"

'-1

20'-0"

1'-

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

SOLID CONCRETE

'-2

29'-9"

'-6

E.1

EDGE OF SLAB

D.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'10

F.1

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5' EDGE OF SLAB

EDGE OF SLAB

20'-6"

SOLID CONCRETE

90 °

G.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

241'-6"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

SECOND FLOOR

S1-05

8.1

'-3

7.1

0'-

'-5

DOOR OPENING 36"

6.1 "

'-4

5.1

4.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

SOLID CONCRETE

" '-2

DOOR OPENING 36"

'-5

3.1

EDGE OF SLAB

12 '-8 "

2.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-5

DOOR OPENING 72" DOOR OPENING 36"

1.1

DOOR OPENING 36"

90°

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 72"

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

SOLID CONCRETE

EDGE OF SLAB

A.1

EDGE OF SLAB

'-3

DOOR OPENING 36"

B.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-1

C.1 40

'-1

1'-

14 " '-2 10

D.1

" '-6 19

E.1

'-7

10 "

F.1

G.1

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

THIRD FLOOR

S1-06

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

STRUCTURE

S2-01

MECHANICAL GENERAL NARRATIVE

The types of mechanical systems that will be used in this project are a Conventional All AIr System with heat pumps powered by geothermal energy. This will be servicing Zone one and two. The seond type of system that is within this project is radiant heating and cooling, with decentralized ERV systems. This will service Zone three, four and five. Within in the project there are zones that will need their own ventilation such as restrooms, kitchen and locker rooms.

ZONE 01: MAIN HALL

9,613 SF x 23 BTU/hr/sf = 221,099 BTU/hr 221,099 BTU/hr / 12,000 = 18.42 Tons MAIN RETURN / SUPPLY : 15 SQFT SUPPLY BRANCHES : 25 SQFT LOUVER EXHAUST : 65 SQFT GEOTHERMAL: 50 BOREHOLES AT 150 FT 25 BOREHOLES AT 300 FT 14 BOREHOLES AT 600 FT 9 BOREHOLES AT 900 FT

ZONE 02: INSTRUMENT STORAGE / FIRSTAID / COAT ROOM / IT / BACKSTAGE

ZONE 03: LARGE & SMALL REHEARSAL ROOMS / INSTRUMENT STORAGE / CHOIR ROOM

Total SF = 36,211 36,211 SF x 23 BTU/hr/sf = 832,853 BTU/hr 832,253 BTU/hr / 12,000 = 69.4 Tons

Total SF = 34,538 34,538 SF x 23 BTU/hr/sf = 794,374 BTU/hr 794,374 BTU/hr / 12,000 = 66.197 Tons

Total SF = 8,611 8,611 SF x 23 BTU/hr/sf = 193,053 BTU/hr 193,053 BTU/hr / 12,000 = 16.5 Tons

MAIN RETURN / SUPPLY : 11.5 SQFT SUPPLY BRANCHES : 12 SQFT LOUVER EXHAUST : 80 SQFT

VENTILATION FOR ALL OCCUPIED SPACE = .4 CFM/SF *small rehearsal rooms will share an ERV the average SF for that is 400 sf* 400sf x .4 CFM/SF = 200

VENTILATION FOR ALL OCCUPIED SPACE = .4 CFM/SF

GEOTHERMAL: 60 BOREHOLES AT 150 FT 30 BOREHOLES AT 300 FT 15 BOREHOLES AT 600 FT 9 BOREHOLES AT 900 FT

MAIN RETURN / SUPPLY : 11.5 SQFT SUPPLY BRANCHES : 12 SQFT LOUVER EXHAUST : 80 SQFT GEOTHERMAL: 60 BOREHOLES AT 150 FT 30 BOREHOLES AT 300 FT 15 BOREHOLES AT 600 FT 9 BOREHOLES AT 900 FT

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ZONE 04: OFFICE SPACE / LOBBY SPACE / STORAGE

MAIN RETURN / SUPPLY : 5.5 SQFT SUPPLY BRANCHES : 9 SQFT LOUVER EXHAUST : 12 SQFT GEOTHERMAL: 20 BOREHOLES AT 150 FT 10 BOREHOLES AT 300 FT 5 BOREHOLES AT 600 FT

ZONE 05: MAINTENANCE AREA / BATHROOMS / STORAGE / LAUNDRY Total SF = 6,597 6,597 SF x 23 BTU/hr/sf = 151,731 BTU/hr 151,731 BTU/hr / 12,000 = 12.6 Tons VENTILATION FOR ALL OCCUPIED SPACE = .4 CFM/SF MAIN RETURN / SUPPLY : 4 SQFT SUPPLY BRANCHES : 7 SQFT LOUVER EXHAUST : 11 SQFT GEOTHERMAL: 20 BOREHOLES AT 150 FT 10 BOREHOLES AT 300 FT 5 BOREHOLES AT 600 FT

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

3/32" = 1'-0" 12/10/2021

MECHANICAL

M0-01

T 4X4

RN DUC

RETU

T 2X2 RN DUC 2X2 DUCT SUPPLY

RETU

SUPPLY

DUCT

2X2

G TO

PIPIN

HVAC

SYST

T 2X2 RN DUC 2X2 DUCT SUPPLY

SYST

5'X5'

HEAT

IES

P SER

PUM

T 2X2

RN DUC

RETU

SUPPLY

DUCT

2X2

5'X5'

HEAT

PUM

5'-0"

G TO

PIPIN

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

SERVICE

IFOL

MAN

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

IFOL

MAN

5'X5'

RETU

HVAC

SERVICE

HEAT

PUM

8.1

'-3

'-5

0'81 8"

7.1

4.1

6'-

RETURN DUCT RETURN DUCT 4X4

" '-5

3.1

-0

7" '-3 8

5.1

A2-04

6.1

8 1 2"

RETURN DUCT 2X2

'-7

2.1

SUPPLY DUCT 2X2 SUPPLY DUCT SUPPLY DUCT 2X2

30 '-5 3 8"

HEAT PUMPS

1" 59'-114

1.1

RETURN DUCT 2X2 SUPPLY DUCT 2X2

HVAC SYSTEM HVAC SYSTEM

1" 10'-118

PIPING TO SERVICE MANIFOLD

11'-35 8"

HVAC SYSTEM HVAC SYSTEM

MANIFOLD DUCTS

5'X5' HEAT PUMP SERIES

5 RETURN DUCT 2X2

5'X5' HEAT PUMP HEAT PUMP

SUPPLY DUCT 2X2

A.1

68'-37 8"

222'-0"

3" 4

'-2

B.1

135

1" 18

'-1

HEAT PUMPS

C.1

5'-0"

'-1 1 8"

5'X5' HEAT PUMP

1" 20'-08

7" 78 1'-

5'-0"

HEAT PUMP

1" '-2 2

D.1

MANIFOLD DUCTS PIPING TO SERVICE MANIFOLD

1" 68

'19

E.1

29'-9"

01 A2-03

1" '-7 2

F.1

1" 20'-64

G.1

1" 39'-112

30'-2"

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

A2-04

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

10'-55 8"

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32"

= 1'-0"

BASEMENT

8.1

'-3

CA012

'-5

13 0'81 8"

7.1

6.1 7" '-3 8

5.1 4.1

6'-

3.1

'11

8 '-7 2

'-5 3 8"

2.1

Ø5'-6"

1" 59'-114

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

1" 10'-118

MECHANICAL - MANIFOLD

Ø5'-6"

11'-35 8"

Ø5'-6"

A.1

'-2 4

68'-37 8"

222'-0"

Ø5'-6"

B.1

1" 18

'-1

C.1 4

'-1 1 8"

1" 20'-08

7" 78

1'-

14 MECHANICAL - MANIFOLD

29'-9"

1" '-6 8

E.1

CA012

1" '-2 2

D.1

1" '-7 2

10 Ø5'-6"

PLUMBING FOR LOCKER ROOM

Ø5'-6"

CA012

G.1

EDGE OF SLAB

1" 20'-64

F.1

CA012

EDGE OF SLAB

1" 39'-112

30'-2"

3" 29'-118

11'-83 4"

7" 18'-98

30'-47 8"

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

10'-55 8"

15'-63 4"

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

3/32" = 1'-0" 12/10/2021

FIRS T FLOOR

M1-1.2

8.1

'-3

CA012

0'-

81 8"

29 '-5 "

7.1

4.1

-0

7" '-3 8

5.1

A2-04

6.1

10 2"

6'-

" '-5

3.1

'-7 1 "

8 2

'-5 3 8"

2.1

Ø5'-6"

1" 59'-114

1.1 RADIANT HEATING AND COOLING @ 400 SF PER SECTION

MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

1" 10'-118

MECHANICAL - MANIFOLD

Ø5'-6"

11'-35 8"

Ø5'-6"

'-2 3 4"

Ø5'-6"

68'-37 8"

222'-0"

A.1

0 2-

B.1

1" 18

'-1

39 RADIANT HEATING AND COOLING @ 400 SF PER SECTION

C.1

'-1 1 8"

1" 20'-08

7" 78 1'-

RADIANT HEATING AND COOLING @ 400 SF PER SECTION

MECHANICAL - MANIFOLD

RADIANT HEATING AND COOLING @ 400 SF PER SECTION

1" '-6 8

E.1

CA012

1" '-2 2

D.1

29'-9"

01 A2-03

1" '-7 2

10 Ø5'-6"

CA012

G.1

PLUMBING FOR LOCKER ROOM

Ø5'-6"

EDGE OF SLAB

90 °

F.1

1" 20'-64

RADIANT HEATING AND COOLING @ 400 SF PER SECTION

CA012

1" 39'-112

30'-2"

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

A2-04

EDGE OF SLAB

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

5" 10'-58

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

3/32" = 1'-0" 12/10/2021

FIRST FLOOR

M1-01

8.1

'-3

CA012

13 0'81 "

7.1

'-5

4.1

-0

7" '-3 8

5.1

A2-04

6.1

6'-

" '-5

3.1

1 2"

CA012

'-7

2.1

30 '-5 3 8"

Ø5'-6"

1" 59'-114

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

1" 10'-118

MECHANICAL - MANIFOLD

11'-35 8"

Ø5'-6"

A.1

-0

Ø5'-6"

68'-37 8"

222'-0"

'-2 4

B.1

1" 18

'-1

C.1 4

'-1 1 8"

1" 20'-08

7" 78

1'-

14 MECHANICAL - MANIFOLD

10 1" '-6 8

E.1

CA012

1" '-2 2

D.1

29'-9"

01 A2-03

A2-03

1" '-7 2

F.1

1" 20'-64

G.1

Ø5'-6"

1 01

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

A2-04

CA012

1" 39'-112

30'-2"

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

10'-55 8"

15'-63 4"

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

SECOND FLOOR

M1-02.2

8.1

'-3

CA012

7.1

'-5

13 0'8 8"

4.1

-0

7" '-3 8

5.1

A2-04

6.1

6'-

5 1'-

3.1

1 2"

CA012

'-7

2.1

30 '-5 3 8"

Ø5'-6"

1" 59'-114

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

RADIANT HEATING AND COOLING @ 400 SF PER SECTION

1" 10'-118

MECHANICAL - MANIFOLD

11'-35 8"

Ø5'-6"

A.1

-0

Ø5'-6"

68'-37 8"

222'-0"

'-2 4"

B.1

1" 18

'-1

RADIANT HEATING AND COOLING @ 400 SF PER SECTION

C.1 4

'-1 1 8"

1" 20'-08

7" 78

1'-

14 MECHANICAL - MANIFOLD

RADIANT HEATING AND COOLING @ 400 SF PER SECTION

1" '-6 8

19 RADIANT HEATING AND COOLING @ 400 SF PER SECTION

01 A2-03

29'-9"

E.1

CA012

1" 22

'10

D.1

A2-03

1" '-7 2

F.1

1" 20'-64

G.1

Ø5'-6"

1 01

29'-113 8"

11'-83 4"

18'-97 8"

30'-47 8"

A2-04

CA012

1" 39'-112

30'-2"

12'-83 4"

17'-17 8"

3" 9'-118

14'-7"

15'-63 4"

10'-55 8"

241'-55 8"

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

SECOND FLOOR-

M1-02

8.1

'-3

CA012

0'-

81 "

'-5 "

7.1

4.1

-0

7" '-3 8

5.1

A2-04

6.1

6'-

" '-5

3.1

1 2"

'-7

2.1

'-5 3 8"

1.1 MECHANICAL - VENTILATION

MECHANICAL - RETURN DUCTS MECHANICAL - SUPPLY DUCTS

A.1

-0

'-2 4"

B.1

1" 18

'-1

C.1

CA012

'-1 1 8"

14 7" 78

1'1" '-2 2

D.1

1" 68

'19

E.1

A2-03

1" '-7 2

F.1

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

A2-04

G.1

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE : 3/32" DATE :

= 1'-0"

12/10/2021

THIRD FLOOR

M1-03

BLACK & WHITE SET

EMMA MEIER-LUINENBURG

ARCH 513 INTEGRATED PROJECT DESIGN STUDIO FALL 2021 Prof. Roberto Viola Ochoa

SCALE :

DATE :

3/32" = 1'-0" 12/10/2021

MECHANICAL

M2-01

A1 RESEARCH

This portion of the project is all the reaseach that did not make it into the explanation of the site but is equally as important to be able to reference back to. Research was a huge portion in the understanding of how we should approach the project and our design as a whole. Looking deeper into the climate and the vegetation that Rome has was a large consideration.

Latitude/Longitude: Data Source:

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

LEGEND TEMPERATURE (Deg. F) < 32

MARCH - MAY

32 - 68 68 - 75 75 - 100 > 100 RELATIVE HUMIDITY (%) <30 30-70

0 5 10 15 20 25 30 35 40 45 50 55 60 65 70 mph

>70

WEST

All Hours through

All Months

Selected Months

MAR

through

One Month

10 p.m.

JAN

One Day

WIND SPEED (mph)

EAST 70 mph 65 60 55 50 45 40 35 30 25 20 15 10 5 0

Selected Hours

8 a.m.

LOCATION:

WIND WHEEL

MAX

25 20 AVG 15 10 5 MIN 0

0% AVG

100%

MAY

MIN

TEMP

Next Month

MAX

Next Day

Animate

AVG

10%

HOURS

20%

Start

Monthly Daily

Pause

Hourly

Stop

LOCATION: 10%

3D CHARTS

LEGEND RELATIVE HUMIDITY (percent) 0%

PLOT:

< 20

48%

51%

> 80

Not Shaded

Shaded

RELATIVE HUMIDITY

Monthly Avg

ROME, -, ITA

Daily

Latitude/Longitude: Data Source:

ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

LEGEND TEMPERATURE (Deg. F) < 32

JUNE - AUGUST

32 - 68 68 - 75 75 - 100 > 100

LOCATION:

WIND WHEEL

RELATIVE HUMIDITY (%) <30 30-70

0 5 10 15 20 25 30 35 40 45 50 55 60 65 70 mph

>70

WEST

All Hours through

All Months

10 p.m. Selected Months

JUN

through

One Month

70 mph 65 60 55 50 45 40 35 30 25 20 15 10 5 0

Selected Hours

8 a.m.

JAN

One Day

WIND SPEED (mph)

EAST

MAX

25 20 AVG 15 10 5 MIN 0

0% AVG

100%

AUG

MIN

TEMP

Next Month

MAX

Next Day

Animate

AVG

10%

HOURS

20%

Start

Monthly Daily

Pause

Hourly

Stop

LOCATION: 10%

3D CHARTS

LEGEND RELATIVE HUMIDITY (percent) 0%

PLOT:

< 20

48%

51%

> 80

Not Shaded

Shaded

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ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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WINTER IN ROME

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TEMPERATURE (Deg. F) < 32

DECEMBER - FEBRUARY

32 - 68 68 - 75 75 - 100 > 100 RELATIVE HUMIDITY (%) <30 30-70

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Though it will be cold and there will be some snow, the winters are still considered mild enough to where taking advantage of solar gains will benefit a project.

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ROME, -, ITA

41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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41.8° North, 12.23° East, Time Zone from Greenwich 1 IWEC Data 162420 WMO Station Number, Elevation 9 ft

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Vegetation in Rome There are a lot of different species of plants that are within Rome. There are a plethra of trees that are taller that are not native to Rome. There are a bunch of flowers that are pretty typical within Roman gardens. This does not mean that they are specifically native to Rome but they were brought in and planted and have prosped.

Mulberry Tree

Salvia Rosmarinus

Cypress Tree -

Roses

Cork Oak

Holly

Stone Pine

Carob

By doing detail drawings of other buildings and studying how they deal with the environment with passive strategies we were able to approach our projects with a similar conditions. This exercise helped us to really understand what goes into a design. It is not just constructing based upon what we know but there are principles that need to be followed in order to create a bullet proof design. Really designing for the environment as well as considering its surroundings.

COWAN COURT

by : 6a Architects where : Churchill College Cambridge CONSTRUCTION Cowan Court was an addition to an already existing residential complex for Churchill College. The project was centered around the idea of sustainability while also beginning to blend in with the existing buildings. The materials are used as a way to bring back the colors that were original to the college. The bay windows used are a characteristic of the original students rooms, the design of these windows was to give a space for the students to sit while, this was possible because of the thickly insulated walls for the most energy efficient structure. This design is a courtyard plan giving the students an area to study in the summer. The materials used within this project were part of an environmental strategy, having passive ventilation throughout the structure, triple glazed windows and the use of solar electricity, solar water and rainwater collection. This was to reduce the amount of energy used by the building. They even went as far as to install a system that monitored the electricity within each room to make sure that people were not being wasteful.

STRUCTURE DIAGRAM

The structure of this project is composed of glulam beams spanning 6.5 meters between glulam columns, this is an example of traditional beam and joist construction. There are deeper beams that provide a stiffness to the long span floors. The internal structure of the project does not line up between floors but the columns were placed in a very particular manner that allowed this project to be constructed the way it is. A major note of how this project is constructed is that all four walls on the exterior have a curve to them. The courtyard design of this project is accompanied by the use of operable shutters on the exterior. This allows air flow throughout the space, giving the student the ability to control their own environment.

WATERPROOFING AND VAPOR BARRIER DIAGRAM

INSULATION DIAGRAM

TYPICAL ROOF ASSEMBLY -STAND AND SEAM METAL ROOF -4” INSULATION -1 1/2’ EXPOSED GLULAM -VAPOR CONTROL -METAL DECKING -1” INSULATION -3/4” GYPROC SOUND BLOCK -3/4” SKIM

-150x50mm GLULAM COLUMN TYPICAL FLOOR ASSEMBLY -3/4” WOOD FLOOR -RIGID INSULATION -BATTEN -PLYWOOD -360mm GLULAM BEAM TYPICAL CEILING ASSEMBLY -2x4 WOOD JOISTS -3” INSULATION -U-SHAPED METAL BRACKET -GYPROC SOUND BLOCK -SKIM TYPICAL WALL ASSEMBLY -PREFABRICATED CLADDING CASSETTE -70x50 TAPERED HORIZONTAL BATTEN -50x38 VERTICAL BATTEN -2x100mm CELOTEX FR5100 PIR BOARD FITTED BETWEEN TIMBERS -150x50mm SFS FRAMING AT 600 -GYPROC SOUNDBLOC -SKIM

TYPE 3A+3B have arc pattern to routed 3-5mm into the face of the timber to remove dark weathered surface revealing fresh oak

TYPE 5

TYPE 2

TYPE 4

-ALLOW FOR SOME NARROW BOARDS (SHADED) TO ENSURE JOINT LINES DO NOT ALIGN WITH THOSE ABOVE

TYPE 2

-ALUMINIUM SOFFIT ABOVE WINDOW / CLADDING -OAK TRIPLE GLAZED WINDOW TYPICAL SLAB ON GRADE ASSEMBLY -3/4” WOOD FINISH -WATER BARRIER -GLULAM BEAM -6” CONCRETE SLAB -RAMMED EARTH

-5mm x 60mm length dome head pozidrive stainless steel wood screw

TYPE 4 TYPE 1

TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -CAST IN PLACE CONCRETE FOOTING -200 RC UPSTAND BOARDMARKED WITH 400mm VERTICAL TIMBERS

COMPOSITE DRAWING : 1/2”=1’0”

The materials used for the facade of this project were reclaimed wood from floors of the french railway carriers. All these elements were prefabricated cladding cassette compositing of seven 150 wide by 30 thick. These boards are tapered to horizontal battens screwed in with 5mm x 150mm long wood screws into prefixed vertical battens. There are five different types of facade design, all varying in length and one that varies in style. The one that is different sets at the top of the project and they are used as a way to give depth between old and new materials, showing the weathered pattern along the reclaimed wood. ALong these facades there are elements that are slightly smaller just to make sure that the joints do not line up perfectly, these will be clad on site . This project uses the sun as a way to power and heat the building. They do this through the use of solar panels and triple glazed windows that allow little amounts of light through. This use of passive energy consumption helps the project to be sustainable not only through its materials but also through its energy usage. There are mechanical units that are located in the basement just in case but they try to solely rely on other uses of power. This project is also constructed using a dense roof to help keep the building a normal temperature. This project also has a system in place to collect rainwater and use it throughout the project, and also to water the courtyard space. The water runs off from the roof into a drainage pipe that then drains the water to a tank. This will purify the water and make sure that it is still able to be used. MANUFACTURERS

A2 PRELIMINARY STRATEGIES

This is an exercise to help us to think and design beyond what we could have imagined if we only focused on one plan. This is an important step in any design, taking the considerations from the site and the context that is surrounding it, then looking at how a designer can start to articulate a project. Focusing on the site first allows the brain to create a set boundary that will start to change how we are thinking about the design. Creating boundaries and parameters before looking into the plan helps to broaden our thought process while still helping to established defined rules. Another important aspect that this study begins to think about is overall size and occupancy and how we can further articulate our design based on this in the primary stages of the design process. Taking all of what we have learned within this process and moving forward we can open up possibilities for ourselves and broaden how we think about the site and the architecture that we can contribute to the community.

SITE STRATEGIES CONCEPT 01 When looking around Rome they have many different styles of architecture, but what they begin to do for the city is generally the same. When studying the vernacular of Rome, I noticed that the city is made up of courtyard and patios. What this begins to mean, is that Rome is filled with gardens. So, this idea began to stem from taking the morphology around the city and beginning to construct an idea based upon that. The site already had a loose idea of what they were trying to do with the space. They have buildings that were set up in a way to give them a makeshift courtyard. This courtyard space that they have created is used for performances from the academia. The performances are located towards the back of the site along the tree line. This is a big part of the academy in the summer and designing spaces to celebrate this could establish a better use of spaces. The courtyard spaces that are created are cut off from half of the site due to an existing building so because of this, the building will be removed to accommodate for the redesign of the space. The project will begin to establish a boundary for the site through the design of its circulation. The circulation will connect 3 volumes which being to establish the courtyard spaces that will be used to design the outdoor spaces for the academia. These courtyards will take inspiration from the colonnade that are typically associated with Roman courtyard design. Not only designing the interior courtyards created by the project, but also how it begins to meet the street. The typical vernacular of design is front loaded buildings meaning that all the program is in the front along the street creating very tall structures that line the street. Bringing this into the site will help to create a more defined street condition for the academia but will also help to emphasize the entrance to the garden space. Since this area is open to the public and the garden is used for performances, it was important for me to look at how the building can establish a more defined entrance.

SITE STRATEGIES CONCEPT 02 Right now, the neighborhoods within Rome all have differing layouts, but once a layout is set no one derives from it. This project will be looking at how the site can be to establish a new way to think of neighborhood from this portion of Via Flaminia. With this idea, I think it is also important to think about the historical ties this project could have. The historical ties that this site has is to the building that is to the Northeast of the site, Villa Poniatowski. Taking the ideas from the Villa with a colonnade but transforming this into a new way of thinking. The idea for this site would be to create an underground courtyard that houses most of the program. This will allow for certain pieces of the program to come up at very specific moments, these pieces that come up will be able to inform new spaces and define the landscape above. Rethink what a neighborhood could be for this site will ultimately make people who want to build near the site question what they should be doing. With program being on the back of the site and nothing at the beginning it starts to bring the question of what could this street look like? Will it start to take inspiration from the park across the street and who there is nothing creating an open piazza for the buildings around? Or will it just be a piece that does not follow the traditional normal of what Roman vernacular would normally call for. Each of these elements play a significant role when thinking about how a project should approach not only the site and placement but begin to peg the question of do, we really need to follow what everyone else is doing? Changing and thinking of a site differently than what is typical will allow for the city of Rome to be more than its historical type of building but also becoming known for reinventing what a Roman villa could look like.

PROGRAM

NET SF/ROOM QTY

TL NET SF

PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS PUBLIC FUNCTIONS

entrance/lobby recep0on/info center security sta0on cloakroom ﬁrst aid sta0on Cafeteria bar kitchen kitchen storage

1500 200 100 300 150 800 300 250 80

1 1 1 1 1 1 1 1 1

1500 200 100 300 150 800 300 250 80

CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL CHAMBER ORCHESTRA HALL

Main Hall stage Main hall Secondary Hall Changing room (performer)-backstage Instrument/equipment storage IT-Control room

3500 1200 800 1200 800 500

1 1 1 1 1 2

3500 1200 800 1200 800 1000

MANAGEMENT MANAGEMENT MANAGEMENT MANAGEMENT MANAGEMENT

staff entrance offices mee0ng rooms staff closet coffee room/staff room

60 1250 300 150 400

1 1 1 1 1

60 1250 300 150 400

CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY CONSERVATORY

Rehearsal room-small Rehearsal room-large Rehearsal room-choir Dance studio Recording studio Instructor/Manager lounge area instrument/equipment storage Locker rooms

350 2500 1800 1200 1150 600 1500 2000

8 2 1 2 1 1 1 1

2800 5000 1800 2400 1150 600 1500 2000

MAINTENANCE MAINTENANCE MAINTENANCE MAINTENANCE

Waste room/recycling Equipment room Locker room/changing area Laundry room

250 500 250 250

1 1 2 1

250 500 500 250

L GROSS SF

OCC. GROUP

OCC. FCTR

OCC./ ROOM

EGRESS REQS

50% OCC.

M. TOILETS

F. TOILETS

LAVATORY

BUBBLERS

2500.00 333.33 166.67 500.00 250.00 1333.33 500.00 416.67 133.33

A-3 B B B B A-2 A-2 A-2 S-2

ASM. UNCON BUSINESS BUSINESS LOCKER ROOM BUSINESS ASM. UNCON ASM. UNCON KITCHEN STORAGE

100.00 2.22 1.11 10.00 1.67 53.33 20.00 2.08 0.44

2 EXITS 1 EXIT 1 EXIT 1 EXIT 1 EXIT 2 EXITS 1 EXIT 1 EXIT 1 EXIT

50.00 1.11 0.56 5.00 0.83 26.67 10.00 1.04 0.22

0.40 0.04 0.02 0.20 0.03 0.36 0.25 0.01 0.00

0.77 0.02 0.01 0.10 0.02 0.36 0.25 0.01 0.00

0.50 0.06 0.03 0.25 0.04 0.27 0.27 0.01 0.00

0.20 0.02 0.01 0.10 0.02 0.11 0.04 0.00 0.00

5833.33 2000.00 1333.33 2000.00 1333.33 1666.67

A-1 AS PER PROGRAM A-1 STAGE A-1 AS PER PROGRAM B LOCKER ROOM S-1 STORAGE B BUSINESS

300.00 80.00 40.00 40.00 4.44 11.11

2 EXITS 2 EXITS 1 EXIT 1 EXIT 1 EXIT 1 EXIT

150.00 40.00 20.00 20.00 2.22 5.56

1.20 0.32 0.16 0.80 0.02 0.22

2.31 0.62 0.31 0.40 0.02 0.11

1.50 0.40 0.20 1.00 0.04 0.28

0.60 0.16 0.08 0.40 0.00 0.11

100.00 2083.33 500.00 250.00 666.67

B B B S-1 B

BUSINESS BUSINESS BUSINESS STORAGE BUSINESS

0.67 13.89 3.33 0.83 4.44

1 EXIT 1 EXIT 1 EXIT 1 EXIT 1 EXIT

0.33 6.94 1.67 0.42 2.22

0.01 0.28 0.07 0.00 0.09

0.01 0.14 0.03 0.00 0.04

0.02 0.35 0.08 0.01 0.11

0.01 0.14 0.03 0.00 0.04

4666.67 8333.33 3000.00 4000.00 1916.67 1000.00 2500.00 3333.33

E VOCA. ROOM E AS PER PROGRAM E AS PER PROGRAM E EXERCISE E VOCA. ROOM B BUSINESS S-1 STORAGE A-3 LOCKER ROOM

56.00 80.00 80.00 48.00 23.00 6.67 8.33 66.67

2 EXITS 2 EXITS 2 EXITS 1 EXIT 1 EXIT 1 EXIT 1 EXIT 2 EXITS

28.00 40.00 40.00 24.00 11.50 3.33 4.17 33.33

0.56 0.80 0.80 0.48 0.23 0.13 0.04 0.27

0.56 0.80 0.80 0.48 0.23 0.07 0.04 0.51

1.12 1.60 1.60 0.96 0.46 0.17 0.08 0.33

0.56 0.80 0.80 0.48 0.23 0.07 0.01 0.13

S-2 S-2 B S-2

1.39 2.78 16.67 1.39

1 EXIT 1 EXIT 1 EXIT 1 EXIT

0.69 1.39 8.33 0.69

0.01 0.01 0.33 0.01

0.01 0.01 0.17 0.01

0.01 0.03 0.42 0.01

0.00 0.00 0.17 0.00

8.17

9.22

12.21

5.33

416.67 833.33 833.33 416.67

STORAGE STORAGE LOCKER ROOM STORAGE

1080.47

Palazzo Farnese

GEOMETRY DIAGRAM

By: Antonio da Sangallo the Younger When: Started in 1515 Where: Rome, Italy

Formal Composition: This project has very clear boundaries with where the program starts and ends. This is a courtyard design, and the courtyard placement is defined by horizontal and vertical axis. These axes begin to make up the four defined areas that this project has. Three of these areas are made up of a similar structure and there is one section that breaks the symmetry that is created. This break within the symmetry begins to counteract what is happening on the façade of the project. The façade is similar on almost all side. Use of geometry: This plan uses the geometry in sections of four. Each of these sections is informed by the spaces created within the courtyard and gallery space. The makeup of this courtyard is based on the axis, from there it is a difference in shapes. Starting with a square and slowly moving to a rectangle. I think it is important to note this change because it begins to show the difference within the program and their importance. The portion of the project that breaks follows similar shape but looks at organization differently. Spatial structure: The spaces within this project are based off the axis created. Since this is a courtyard design, the center of the project becomes the most accessible, but from there it is based on which programs are located along the galleries path. This structure creates an importance of certain spaces over others also being to show the spaces should be used.

HERIARCHY DIAGRAM

SPATIAL STRUCTURE DIAGRAM

Movement (vertical and horizontal) This plan has two ways to move throughout the space, there is the main gallery area and then there are paths that connect all rooms so people do not have to step foot in the courtyard to be able to experience these spaces. This creates an interesting condition of thinking about movement within the plan and makes people start to question what can movement be? Does the movement want to be more of a find your own way? This plan also puts the importance on the stairs by placing them along the access of the gallery. This makes them seen as more of an element than a way to move throughout the project. Hierarchical structure: The hierarchy within this project is based on placement and program. I think that the central element and the axis points are the most important space when defining the layout, but the most important program elements are located along the gallery. They are also the largest rooms. Breaking the idea of hierarchy down further it can be seen that the other space that line the courtyard are a little less important than the ones at the ends of the gallery. Placement is everything within this layout and understanding this is how to being to rethink the way a project can be designed.

TERTIARY

PRIVATE

SECONDARY

SEMI-PRIVATE

PRIMARY

PUBLIC

MOVEMENT DIAGRAM

MY PLAN: Palazzo Farnese located in Rome, this plan and building follows typical Roman vernacular architecture. The basis of the plan being courtyard defined by two axes, one running north to south the other east to west. from there the form fades into a rectangle, how, why? The integrity of this plan lies within the smaller details and how the windows create symmetry on the facade, but the rooms don’t follow the same condition, creating asymmetry. The very last condition to consider is the fact that there are four defined parcels. All these ideas come together with concept one to being to create a new condition for the academia. A condition where they have separate courtyards for new defined spaces. This will begin to take the spot of the existing building but keeping the same idea of creating a barrier. This project also beings to look at how the spaces could and should be organized. In the plan studied the asymmetry was within the interior but this project looks at it with the opposite approach. What if the interior was symmetrical yet the facade beings to show the asymmetry? Will this help to establish the bordered and create hierarchy within the project? There is also the consideration of facade and how and this be approached. This project is calling to have a symmetrical facade with typical roman vernacular ar-

PLAN / SECTION : MY PLAN

CIRCULATION / UTILITY CONSERVATORY ORCHESTRA PUBLIC PATIO

chitecture. The approach to the project will be along the street this will allow access to the central circulation element. this circulation element will be the only way the spaces are connected. Each of the block within this project will contain different program. The area that is creating the definition of site will be the conservatory. almost creating their own academia separate from the public space. The organization of this program is in relation with what is happening in the garden right now. Having the main concert gall adjacent to the outdoor performance area will help to strengthen this connection and hopefully tie the two together.

Bagsvaerd Church

GEOMETRY DIAGRAM

By: Jørn Utzon When: 1976 Where: Denmark

Formal Composition: This is a rectangular plan with areas that are defined through circulation. Each zone within the project has their own courtyard spaces that help to reiterate how the spaces are used and what their function is. Within this project, the façade establishes the grid and how all the spaces are laid out, this grid system is not broken by windows so the only way that light gets into the space is through the courtyards. This reiterates how the courtyard is an important part to establishing how the space is seen and establishing a different way of looking at the site. Use of geometry: This is a long rectangle that has three areas all the same dimension. This dimension is then broken in half to begin to create the different sizing of spaces. The geometry does not line up correctly at the end, this is due to the conditions created within this area. This is not a true rectangle because it is eroded on one side. This erosion brings importance to this area and helps to define the break of the geometric shapes that are being created. Spatial structure: The spaces within this project are defined by public, semi-public and private. The importance of these spaces are defined by their access to the outside. The main chapel within the project has a large courtyard that begins to break the perfect rectangle, this shows people where to enter the project. The next element that helps to define the layout is the size of the spaces, the large the space the more public that space is meant to be. This is all about access and making the project easy to navigate through.

HERIARCHY DIAGRAM

SPATIAL STRUCTURE DIAGRAM

Movement (vertical and horizontal) When navigating this project, you must walk within what seems like walls. This creates a different condition of how people can use the spaces and how they access them. To enter the chapel, you enter through the large courtyard, but to be able to enter the small rooms that are more private you enter through what seems to be a wall. This helps to create more defined movement throughout the project and give more structure to how the architects depict movement. Hierarchical structure: This plan shows hierarchy through how the space can be accessed and the size of the space. The most important spaces within this project are large but their courtyard condition opens to the public. One slightly more than the other helping to reiterate where people are supposed to enter the space. The next opening is smaller but still allows people to access the courtyard just with more defined rooms then next is the smallest and this is not accessible from the outside but only from the circulation elements.

TERTIARY

PRIVATE

SECONDARY

SEMI-PRIVATE

PRIMARY

PUBLIC

MOVEMENT DIAGRAM

MY PLAN: Jørn Utzon and the Bagsvaerd Church, using modular geometry to create a rectangular plan that is broken or dissolved to show hierarchy or spaces. This rectangle is broken in a patio that leads to then main church. This church also uses a modular facade to create a gridded system. This plan also uses height to show hierarchy within the space. Carrying forward with these ideas and combing them with the same ideas from concept one this project starts to take on an almost harsh form. A form that is created by a gridded system that will then be translated onto the facade through materials. The organization of this plan follows the layout of the church. The most important parts will be indefinite by courtyards that break the defined rectangle. The first courtyard will be used for the entrance and the other courtyard that breaks the rectangle is for the conservatory. This courtyard will be used to give the public a way to put themselves into the academia. Being able to hear and see them practicing will allow people to feel a part of the experience. The private courtyard is placed in the orchestral part of the project this is because going to an event is an event and looking at a way to further separate this from the site will help for the experience to feel more seclude. The last element that was pulled from the study

PLAN / SECTION : MY PLAN

CIRCULATION / UTILITY CONSERVATORY ORCHESTRA PUBLIC PATIO

of the Church is the fact that the circulation is within the walls. This is the only way to get from space to space. This idea is carried though inn this project but in more of a refined fashion. this space will also start to become an area where security storage and locker rooms can be placed. Is this clear enough? Are the spaces laid out in the correct way? Does this project call to be two stories? these questions are all derived from trying to further articulate the project. Sine the original plan uses height as a hierarchical element this project has changes in roof pitch to demonstrate which are the primary spaces.

Crematorium in Ostend

GEOMETRY DIAGRAM

By: OFFICE Kerseten Geers David Severen When: 2019 Where: Belgium

Formal Composition: This is a plan that is made up of two juxtaposed squares, the first square being the roof and the second for the programmatic elements. This plan is composed into three sections, each of these sections create a different spatial structure for the project. The layout of the spaces and how they communicate with each other gives the impression that this is a compact style of design. All of the spaces are composed together which makes it important to consider the layout and movement throughout the spaces. Use of geometry: This project uses geometry to emphasize the difference between these three “bands”. Working from smallest to largest, these bands all line up to create a perfect flow of geometry throughout the plan. First looking at how the larger areas, if divided in half begin to make way for the next geometry. Then again for the next section. All these bands are constructed in the juxtaposition of two squares, the roof determines the spatial boundaries, and the other square determines the wat in which the program is laid out. Spatial structure: With the creation of these bands the spaces within the project are simple to decipher. The middle band is the most important it begins to create a connection between all the other spaces Another element within this plan is the ancillary space in-between the program. This becomes a space to pass through from space to space but it also beings to hold utility for the project. This helps to further define these bands and make sure it is understood as three separate parts.

HERIARCHY DIAGRAM

SPATIAL STRUCTURE DIAGRAM

Movement (vertical and horizontal) The movement within this project is determined by the walls that divide the programmatic elements. This project is not restrictive in the way that a person can experience the space, but it gives enough structure to make the project easy to navigate. Hierarchical structure: The most important places within this project are those that are the most public. These are the spaces that define the program and what people will use this project for. This means that the hierarchy is based on the central area and the vestibule, if you will, the create the entrance to the main space. Looking into the semipublic areas, these are areas that help the main program but are not really the importance of the project and then the walls that create division. These are important when looking at how the spaces are made but less important when it comes to use.

TERTIARY

PRIVATE

SECONDARY

SEMI-PRIVATE

PRIMARY

PUBLIC

MOVEMENT DIAGRAM

MY PLAN: The crematorium by OFFICE uses a very rigid spatial layout, three bands separated by skinny bands that hold utility and circulation space. The next idea that will be taken forward is the juxtaposition of two squares. This begins to define the building shapes and rooms. The layout of spaces and rooms within this project were very strategically laid out and so placing importance of where and why a space is where it is, will be important. This plan is derived from concept two with an underground courtyard with certain elements coming through the ground to being to define the spaces that are above. This is an important part of creating a defined area for the concert space in the back. Taking these ideas this project becomes a juxtaposition between two rectangles of different sizes. when these rectangles overlap a courtyard emerges. This courtyard becomes the center of the project. The organization of the spaces are still defined in the fashion of bands being divided up by circulation and utility. creating this way of moving throughout the space allows for a way to make sure that the program can show hierarchy based upon access to each element. The This project also beings to challenge the way Roman architecture can be built and how this site can relate to its historical counterparts. These counterparts are

PLAN / SECTION : MY PLAN

CIRCULATION / UTILITY CONSERVATORY ORCHESTRA PUBLIC PATIO

Villa Guilia and the Piazza to the northwest of the site. This will be done through facade and ground scape design. Starting to define an area for the public to be entered into the site. Since the academia is located in-between a newly developed area, an industrial park and a garden, this project needs to consider how it can inform how the block will be looked at. The questions that will be asked are: is this the best way to approach the site? How will this project truly inform the rest of development? this project calls to have an overlapping of grids that give the spatial elements differing shapes. Are these shapes really the best option?

Musee Cantonal Des Beaux-Arts Lausanne

GEOMETRY DIAGRAM

By: Barozzi Veiga When: 2019 Where: Switzerland

Formal Composition: This is a clear rectangle that is broken up using carefully placed service space. These service spaces being to create a composition of squares and rectangle that determine where and how the program will begin to be laid out. The façade of this project also helps to create modular system and making sure all elements are working through a similar structure. Within this project and its composition, the importance of placement is key, this project has one element that is original to what was there before. Keeping this element helps to derive the form and its composition. Use of geometry: This project begins to take the measurements from the original structure and repeat this to begin to create established spaces. There are moments where the geometry is cut in half, and these demonstrate a switch in the spaces and how they are composed to create importance and structural quality. The geometries created are more focused on the consistency of space rather than the consistence of room. The rooms in this project are defined by utility spaces and are on a grided system that is created by the façade. Spatial structure: The spaces are defined by the utility spaces that are created, while also being constructed on distance from the entrance. The most used spaces are closer while the more privatized spaces are towards the edges. The placement and size of the utility pieces also help to define the areas and their difference. The create clear boundaries of public and private within the project. When the utility touch from edge to edge this acts to establish a difference of formal composition of the areas.

HERIARCHY DIAGRAM

SPATIAL STRUCTURE DIAGRAM

Movement (vertical and horizontal) The movement within this project is defined by going from room to room. There are no ways to access one program faster than another. This creates one solid entrance and helps to connect all programmatic elements. With one clear entrance it is important to note that you can turn two ways from there the spaces open of a hall that is located on the back wall of the project. Hierarchical structure: The most important space is located close to the entrance, but the utility space that not everyone can access are used to create a division of hierarchy within the project. Having this clear division of importance of spatial elements leads me to think about if hierarchy is just based on the elements that the most people can access or is it based on size. I think it is an important question when looking to replicate the ideas that are coming through within the plan.

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MY PLAN: In Barozzi Veiga’s plan, he begins to establish a relationship with the history that it was left on the site. Using the geometry of the old building to create a module for the rest of the project. Within this plan, he also uses utility to divide up the programmatic elements. Looking deeper into program organization and circulation articulation, he uses one path for movement throughout the project. This controls how people can experience the space. Taking these couple ideas and bringing them in to conjunction with concept one this plan becomes a series of rectangular elements of different lengths, but the same width. Having the same dimension of spaces places the same hierarchical condition within this project. The hierarchy is based on how people enter the space and which spaces will be the most accessible. Other elements that are being carried forward is the idea that program be divided up by one element. Instead of this project being divided up by utility this project is divided up by courtyard spaces. This is working to reiterate what one of the main ideas from concept one was. Redefining the courtyard spaces within the garden of the academia. Are they enough? could they possibly become something more? Questions start to arise about the importance of this division. Then next element that is import-

PLAN / SECTION : MY PLAN

CIRCULATION / UTILITY CONSERVATORY ORCHESTRA PUBLIC PATIO

ant is the way in which people will move throughout the project. The movement in this project will be done through one element that connects all five parcels. This circulation will also help to divide the program further than it just being a large block. The facade and makeup of this project will be being to show hierarchy through the facade. The hierarchy will be shown through the height of the roof. Is this the only way? could the spaces be connected through an overarching element? The design of this project becomes more set around the idea of these fragmented elements that are separated by defined courtyard spaces and being connected through the project’s circulation.

Cathedral of Our Lady of the Angels

GEOMETRY DIAGRAM

By: Rafael Moneo When: 2002 Where: Los Angeles, CA

Formal Composition: This plan was composed based on the way in which people should enter a chapel. Having the alter and the entrance on the same side of the project gives this project the unique condition of establishing a way to move throughout the space to enter the church correctly. This pathway is lined with smaller chapels that are used to create a boundary between the person and the main chapel area. Since this project has such a unique shape, Moneo begins to create a more defined area by the addition of the garden space. Use of geometry: There is not a strong sense of geometry within this project, this project is composed in the shape of a large rectangle. This rectangle begins to establish where the boundaries for the chapel lie. Within this space all elements are angled to a specific point, this begins to create a focal point that is beyond the project’s boundaries. Spatial structure: Since this is a church and most areas are public, the structure of this space is more defined off the basis of which areas are the used the most. The spaces leading up to the chapel bring the most movement to the space and can be used for more activities, while the chapel has a single purpose. It is also important to note the most private areas within the project, these are the elements that begin to create a separation of the chapel and the “lobby” area. The spatial structure within the space is very defined and follows exactly how people use the space.

HERIARCHY DIAGRAM

SPATIAL STRUCTURE DIAGRAM

Movement (vertical and horizontal) The movement within this space is defined how Moneo laid it out, he established pathways that lead you to the correct way that people are supposed to enter a church. This begins to establish a very rigid movement throughout the space. The entrance being on the same side as the alter give this church a different sense of movement, while you can still make your own path by walking through the sides, the movement was still predicted by Moneo and his idea for people to follow how we designed the church. Hierarchical structure: The most important part of this project would be the central area. This is shown through how the geometry is laid out and even how he laid out the program. Every element within this project works to establish the importance of the central space.

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MY PLAN: Rafael Moneo in his design of the cathedral in Los Angeles focused on establishing a focal point for all the program to be aimed at. This begins to place emphasis on this place and maybe its importance to the site itself. Another major factor to consider with this plan is the spatial organization and how the program begins to work together. The major idea that this plan takes forward is that of creating importance of one spot. The spot for this plan is the outdoor performance area, taking this and establishing this connection helps to reiterate the importance of gardens and courtyards within this site. This concept is derived from concept one, this means this project is starting to create a defined edge and courtyard spaces for the academia. This project also takes away one existing building helping to expand the boundaries of the academia. The placement on the site and spatial structure of this project are beginning to take the ideas from Moneo. With ancillary programs creating a boundary on the primary spaces. This means that the organization of the project is keeping the public elements along the ends and the conservatory in the middle. This is because the conservatory is the main programmatic element for the academia. The circulation and utility in this project will act as the division between

PLAN / SECTION : MY PLAN

CIRCULATION / UTILITY CONSERVATORY ORCHESTRA PUBLIC PATIO

the different types of programs. The next thing to consider was the overall design of the project, questions arise like what is the hierarchy of space? How can this be shown? This can be shown through the roof and maybe starting to establish spaces that are two stories. Another element within this project that needed to be considered is the facade design. What can this be? How can it begin to relate to its surroundings even though this project goes against the grain of typical Roman vernacular architecture? This project calls to have facade design that is like that of the academia. It is also beginning to look at the connection of the garden spaces to the project.

One Half House

GEOMETRY DIAGRAM

By: John Hedjuk When: N/A Where: Not Built

Formal Composition: This plan is composed of a series of three volumes that are bound together movement space. Each of these elements is divided in half and create a half sphere, triangle, and a rectangle. Each of these shapes begin to establish a different relationship to the site and overall project in the way they are situated. This is done through how they are situated within the project. The spaces within these volumes are determined by placement of walls and windows, all of which run on an orthogonal path. Use of geometry: This geometry within this plan is looking past what is there and see what was carved away. Looking at the composition of the elements and how they are perfectly places within a square. From there, understanding how the elements begin to act as a whole and how the shapes begin to inform how the others are working. The edges of the shapes tell a story of how the others are placed within the project. Also, with the geometry and understanding how each figure is laid out, it is important to look at the interior. The interior of these forms has walls, these walls begin to determine where walls begin to start and stop. Ultimately tying all these elements together even though they seem so separate. Spatial structure: The way people walk throughout the space begins to inform how all the spaces are laid out. Starting with the most public, the entrance which then leads into the central access of the project. From there leading into each of the figures. These figures hold the most private program ultimately leading them to be different and look at different conditions then the path leading up to them.

HERIARCHY DIAGRAM

SPATIAL STRUCTURE DIAGRAM

Movement (vertical and horizontal) How people move throughout this project would be entering in a large rectangular form that begin to create almost a corridor for the project. This then leads you into a long hall that gives way to the main space within the structure. The stairs within the project are located along the central axis, this gives the feeling that all the movement within this structure is central oriented. The architect wanted to create a defined path for a person to walk through. Hierarchical structure: There is no clear hierarchy within this space it is more putting emphasis on the three shapes that are all differing forms. One could say that the most important of the three is the one located directly at the end of the hall, but I believe all these spaces are similar in importance. Next important within the project would be the approach and how it determines access to the site. This becomes an important piece of how people perceive the space.

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MY PLAN: The concepts created in One Half House by John Hedjuk are fragmented geometric shapes that come together through circulation and corridor space. Taking these shapes within the Hejduk plan and looking at the spaces that are missing, becoming the question of what are these missing geometries informing? Can this become a space in itself? This plan is focused on the idea of the spaces being created by fragmented geometry. Not only taking the negative space but also focusing on the circulation element and how it can become an entrance into the project. Taking the ideas that were created in concept two of having an underground courtyard with elements that come up to define the garden space for the academia is how this project came to be with its placement and ideas. Bring the concept even father and looking at how people can move within the space and what the shape could become was important when considering the design. the idea of movement throughout the space is still in question. How does the space begin to react to the program? Or do these half shapes wish to become a space for circulation and a way for the program to communicate with the courtyard? Looking at connection of spaces to courtyard is important when thinking about how the space will begin to feel. a connection of

PLAN / SECTION : MY PLAN

CIRCULATION / UTILITY CONSERVATORY ORCHESTRA PUBLIC PATIO

public spaces to the more private conservatory. Just like in the Hejduk plan this program will be grouped together to establish consistence and add to the fragmented nature that the plan already has. This project will begin to progress in its layout and how the spaces can be more defined and play more with the area it is in. Definition of patio spaces and the connection with Villa Guilia will be an important portion of this design. Defining the ground plane will help to establish a way of designing for this block. While also looking into facade design that will complement the surround architecture. How can the shapes in the courtyard be taken further? Is there a better organization?

SUMMARY OF PROJECT The design of this project has progressed in many different directions, but deciding which way to go is the new question. Which is the best way? Do you go with a typical design for Rome? or should this project take a turn and start to consider how the Roman block is considered? The importance of site and the history and reference is important but does it trump giving the site a defining factor? This project will work to resolve this question, without this long over-bearing task, this project would have not gotten to the place it is at. It is the study of how architecture used to be and translating that with new ideas. This is how the dialogue and progression of this project will continue. So, what does the site call for? Is it a underground courtyard or a way to define the site? Taking only one of these iterations forward this project will be centered around establishing relationships to its surroundings. With careful consideration this project calls to carry forward with the idea of redefining what a Roman block can look like.

Test Study : 01

Site Concept 02 + Crematorium in Ostend

Formal Composition:

This plan is a compact plan with a focus on defining areas through a series of courtyards. This plan began to take inspiration from the Crematorium in Ostend by OFFICE. The ideas that were taken is the idea of three main areas connected through utility space. Though the layout and organization of this plan is different than the Crematorium it is still using these principles to established boundaries of programmatic elements. The makeup of this plan also takes into consideration how the public will use the space that is surrounding the building. Using stairs to connect to Villa Guilia to make a tie to the history that the site has as well as creating the only public plaza within this neighborhood.

Use of geometry:

The use of geometry within this project follows a gridded system that begins to establish size and importance of spaces. This gridded system that is being created helps to make sure that all the spaces work in relation to one another. Just as in the Crematorium this plan is using geometry to begin to establish hierarchy and spatial structure within the project.

Spatial structure:

These spaces are laid out in accordance with what is on the site. The program within this project begin to establish a connection with the street as well as a historical connection to Villa Guilia. This is done through the placement of the program and how they are oriented on the site. With the conservatory being more private and a space for the students it is oriented towards the garden space. While one the other hand the public spaces such as entrance and main concert hall are along the main plaza being created.

Movement (vertical and horizontal)

The movement within this plan is that of a typical courtyard design with access to all space surrounding the courtyard. The only exception to this rule is for the conservatory. This is different and begin to create an audible condition for the courtyard and having the student move around the perimeter of that portion. Vertical movement throughout the space is done through the utility space that begins to define the program. This is an element that is carried forward from the crematorium. This utility space also acts to connect the three defined programs.

Hierarchical structure:

The hierarchy within this project is done through placement and height of spaces. Having the main hall and the conservatory has the highest point this is creating an exterior relationship to what is happening on the interior spaces. This does begin to bring the question of what if the space became a concealed condition. What if the roof height was the same but when a person walks into experience the space, they are shocked at what is on the inside? Could this work?

SECTION / PLAN : FLOOR 01

Circulation / Mechanical / Restroom Public Space Conservatory Office Maitenance

SECTION / PLAN : FLOOR 02

3D MASSING MODEL

Test Study : 02

Site Concept 02 + Crematorium in Ostend + One Half House

Formal Composition:

This project is composed of three fragmented volumes, each of these volumes has their own courtyard. The layout of these is placed along a gridded system, which is broken by one element. This begins to create hierarchy for the project. This project combines studies of Site Strategy 02 and the study of the Crematorium in Ostend and One-Half House. Each of these studies informs this plan and begins to create an interesting dialogue of site placement and programmatic elements within the project. This plan will address the site context through the design of the ground plane while also beginning to think about what future development along this block could mean.

Use of geometry:

This plan uses geometry to connect each of the space, through similar shapes that complement each other. There are three blocks within the project just like in the Crematorium and like what was going on with the one-half house. Both plans were composed of having three elements with an overarching idea of a connective piece whether it be through the roof or through another element it is important for the connection. This plan is begging to test what this connection could be. Does it call to be through the roof? Or should it be more of a direct connection that people are able to see from the ground plane? Though this plan is not overly focused on geometry it is still looking to create connection through utility elements as well as having three defined spaces.

SECTION / PLAN : FLOOR 01

Spatial structure:

This plan is organized by public program in the front and private program in the back. This helps to give light to how the program should be acting within a space and begins to place an importance on what program is the most accessible. Having the public portion in the front also helps to tie the plaza that is being considered and the project to the public. The utility spaces are what are in-between connecting the three elements together. This idea was inspired by the Crematorium. This also helps for the spaces to be laid out the way they are but also lends to having come control over where and how people begin to experience the space.

Movement (vertical and horizontal)

This is a typical courtyard plan so people will be using the perimeter of the courtyard as a way to navigate the interior spaces. This will help create ease between going from room to room. There are also connective moments that are within this plan and these help to create communication between each fragmented portion. This will also hold the stairway that will get people up and down throughout the space.

Hierarchical structure:

The hierarchy within this space is focused on the orientation of the project. There is one element that is 45 degrees off the gridded system. Having this rotation not only brings hierarchy to the project but it also begins to address the varying conditions that Rome has. There is not right to wrong way to out a building within a block, almost all of Rome has varying blocks. Tilting this piece allows for the neighborhood to put more thought into its development. Other than height of spaces and rotation that is the only hierarchy within the project.

Circulation / Mechanical / Restroom Public Space Conservatory Office Maitenance

SECTION / PLAN : FLOOR 02

3D MASSING MODEL

PLACE, CONTEXT, SCALE How does one approach a site within Rome? Does one follow the vernacular architecture, or should it be creating something that is against all of what the city stands for? A question like this needs to be addresses with careful consideration. On one hand a project can fit seamlessly into the context and look as if it was always there, the project could look almost alien to a site or the project can take bits and pieces and construct a project that is responding to its place. What is the best approach? Is there a wrong answer? There is no wrong approach but there is an approach that would make the most sense and that is taking what has been learned over the course of history and integrate that into a new design. The site for this project has existing buildings on it that are not only built in a typical Roman vernacular but also have a rich history to their location and what this used to be. The context that is on the site already has a sense of what the spaces are beginning to communicate. The site is composed of a series of buildings that are establishing courtyard conditions and within this space there are performances. The context of the project is what is creating the places in which people can inhabit. Beginning to emphasize this became an important part with creating an addition onto the Accademia Philharmonic Romana. Starting to approach the site with a different set of parameters in the sense of building on the site begins to create a conversation of what a Roman neighborhood can look like? What would happen if buildings were not front loaded and begin to create pocket of public space? What would this mean for developments within this area? This project begins to address this change while keeping using the building types that is native to Rome and keeping the connection between the Accademia and villa Guilia. Not only is the placement and what is surrounding important but also scale and how a project will fit within what is already existing. Will the project be way taller? Will it be quaint on the stie? Will be it be one story and taking a large footprint? All important questions, but when looking to follow the vernacular of the city this project became a series of courtyards that begin to define programmatic elements that surround them. This is typical of Rome and instead of building out the project will build up with the tallest portion in line with the Accademia. This helps to redefine the differing elements in the project while also using the context and arrangements within Rome as a basis for its construction. Since public piazzas are not normally within a neighborhood like this a couple questions have been arising, like, what is the approach to the courtyard spaces, are they use stone? Do they have greenery? What are they calling to be are all the interior one’s stone then the main courtyard grass? and can the landscape begin to articulate what the spatial conditions within the project are? What can the experience be for people? Creating an answer to this question of what the ground will look like is something that needs to not be taken lightly. This is the approach to the project, the first-place people will enter. So, what can it be?

SPACE, CHARACTER, ATMOSPHERE, IDENTITY What can this project become and why is it taking this path? A question that is important to ask oneself. Firstly, what do the current spaces begin to create for the site, they create pockets of experiences, both interior and exterior. The moments that are being created are the important characteristics of the site. This became the first step in creating an identity. Next what and how will the project come to be. With the Accademia in typical Roman vernacular this project called to be slightly different. Taking inspiration from older Roman architecture such as the Pantheon and the Roman forum where the exterior was blank, but the interior was decorated to what the space is trying to convey. This is a project that is looking to articulate moments and feelings within a space. A moment where a person can peak through a slender opening to the outdoor concert space. Each moment that is being created is done with intentions of creating a moment within the project. Taking the ideas and concepts stated by Peter Zumthor in his writing ‘Atmospheres’ knowing the importance of the spaces being created and what that can look like for someone. Whether it be seeing something off or simply hearing music that brings joy. These are another important element to the atmospheres that this project is creating for the Accademia. This project begins bringing questions such as what are the moments that can be created? Are they tied to what is already existing? Should the buildings have clear communication between one another to establish a deeper connection? Could this connection be used to define space? With characteristics of surrounding buildings and wanting to establish a connection to Villa Giulia the smaller details are what establish the characteristics of the space. Putting emphasis on smaller elements is like what the pantheon is creating. It is creating a conceal and reveal moment. Though the reveal is not the same this project has similar characteristics of what Roman Architecture used to look like. The character of the space is a large influence on the spatial structure of the project and the layout that this project has. Since the courtyard is a design tool used throughout Rome and roughly on the site the inclusion of this was crucial to the identity of the project. The identity centered around the experience of space and what can Roman architecture become. Rome is a place where it is typical to have a brick facade with a series of windows to allow for air circulation throughout the building. Taking this idea forward and to make the project fit within Rome it is also important that it has its own identity amongst the rest of the city. This is not saying to get rid of all characteristics but take what was done when the construction of Rome started and think about that in a modern way. The way of construction in Rome has worked and provided the city with a strong backbone of design. So why try and change it?

ORGANIZATION, ARTICULATION Building upon what is already existing within Rome the organization of this project calls a courtyard design. Courtyards are something that have been developed in many different styles. There are Spanish architects that begin to design courtyards in terms of moments within a project. It is not only a passive design strategy, but it can also be a different way to articulate varying spaces within one project. This type of design is seen within the Herzog de Mueron’s rehab center in Basel. They use the idea as a courtyard to begin to divide up space just as the Crematorium within the precedent studies that have been done. This project begins to question the organization of buildings within Rome and if they can be thought of in a different way. This project has three defined programs, all these elements will have their own courtyard. Taking inspiration from not only courtyards within Rome but throughout the world and how others see and design them will help progress the project beyond what a typical Roman courtyard looks like. Creating meaningful moments within the space, moments in which people can question of experience say someone playing the piano in a way they have never seen or heard. These courtyards become the centerpiece for each program so it begs the question of what will they be for each space? Are they accessible to the public or is it just a place to view performance that are happening? There are many ways these spaces can be approached and how they can further articulate the spaces they are trying to create. Rome used to approach architecture in an entirely different way, still with courtyard but rather than having a façade that has ornamentation they were plain and on the interior is where the identity of a building was. Examples of this type of building would be the Villa of Mysteries and the House of Fahn. The Villa of Mysteries has a plain façade constructed of stone but then on the interior there are beautiful red walls that begin to define where a person is within a space. These red walls surround a courtyard and begin to tell a story of what was happening within that time frame. Writing these moments for people within architecture is an important part when understanding the ideas of a courtyard. Not only are they good for construction within Rome but they are creating the experience of the space. The House of Fahn is slightly different than the Villa of Mysteries but the same general concept on having defined moments for people based upon the placement of structures that created courtyards. This project is taking this idea and separating the three programmatic elements just enough to create a central courtyard. Starting to rise questions of what is this space for the project? It is the only space in which all the programmatic elements can work together, so how can this be emphasized? Could it be done through the placement of windows? This project will be very specific with where windows will be. This helps to articulate the spaces on interior as well has create connection between interior and exterior elements.

TECTONICS, MATERIALITY, DETAIL/HAPTICITY With this project being within Rome, it was important that the project use what they have already learned with what works for material. A clay tile roof and brick or stone facade. Not only this, but the style and windows. All of these come together to not only create a vernacular style for Rome but also helps all the buildings to perform better environmentally. Discovering how this type of construction has been used throughout Rome by studying Trajan’s Market, Villa of Mysteries and the House of Stags. Even before considering designing within the old Roman parameters, it was important to understand the design and how small details can begin to affect the outcome. This is seen in projects where they begin to play with the idea of the courtyard and what elements can begin to emphasize what it is trying to do. Whether it be through small slits of light, or simply through the window design, using precedents to understand window placement and design that differs from what is typical within Rome. For this project, it could be nice to articulate further on how and why the windows are the way they are. This could be done through a variation of windows based on amount of sunlight that will be entering the space. For example, the southern facade would need a little more protection for the interior, so it is not heating the building to a point of discomfort. While the facade that is facing the north will not receive a lot of sun only at night. So how can windows and design help consider these arguments while also articulating space in a thoughtful way? Windows can become moments within the project, they can act to view the site in a new way, more so framing the moments that people can experience. Taking inspiration from the Villa of Mysteries and House of Stags and how they use specific materials and details to make an experience. The House of Stags uses openings to frame the courtyards to put emphasis on their importance. Villa of Mysteries uses paintings to define each courtyard and make it separate from the next. The division of program with their own courtyard will help to reiterate the points that were made in early Roman architecture. This lends its way into material as well beginning to use similar materials to what early construction within Rome used. So, using stone, tile roofing and differing interior conditions to create an experience for the site. Starting to look at how these courtyards can be used differently than anticipated? Are they open with a sunroof above? What is the best way to create a space and make sure that the details emphasize and show the importance of the courtyard? Another detail that will make this project unique is its placement along the site and how it is addressing the street condition, not placing all the program at the street. “Plain” material in a way that can create depth while also still having small details that can be so telling of what the project is trying to convey. This is not a project that is focused on the architecture it is focused on creating an environment for the public and a place for people to be able to practice and listen to music. How can the materials and the details help to enhance this experience? With smaller details this project will add to the architecture that is within Rome with similar construction a thoughtful technique, but it will also question the typical vernacular and process that Rome has set in place.

ENVIRONMENTAL STEWARDSHIP Materiality and detail go way beyond what people can see, most of the materials that are used within typical Roman construction were not for aesthetic purposes. The materials that were chosen to be within this area is because of their availability and what they can begin to accomplish for the building. Since Rome has been developed over thousands of years helps to reassure which building methods work the best for the area. This is not only with materials but also shape and layout of the project. Looking into the vernacular architecture within Rome it is noticed that there are a lot of courtyard style buildings and homes. This is because of the climate that Rome has. Having a courtyard style building helps to naturally ventilate a space. Courtyards within Rome have changed a lot over time for what they are doing spatially for a building, but their overall purpose of natural ventilation stays the same. The courtyard is an important part of creating a structure that helps with natural ventilation but there are many materials that can go into this type of construction. A lot of Roman construction uses stone like brick and travertine. Travertine was used to construct older buildings when the facades were not as ornate as they are now. Brick or stone is used throughout Rome an example of brick being used as a construction method is the Colosseum. Having precedents and knowing how they function within the city and how they have held up with time creates a strong foundation for what this project should use within its construction. The roofing systems that are used within Rome are clay tile roofing and this is not only and aesthetic purpose, but this type of roofing also acts to control heat within the building. Taking this into account this project will use clay tile roofs not only to fit within the vernacular of the city but also to gain the benefits that this type of roofing has to offer. Rome does have a rainy season, so it is important to investigate how they deal with rain. Finding that a lot of projects use cobblestone paths or piazzas to control the amount of water. Bringing this aspect into the project will help to make sense of not only the courtyards that are being designed but also bringing light to the good a piazza can do for this site. Taking from precedents and understanding all the environmental conditions that Rome could have and placing this within the project for the Accademia will help to create a project that not only fits within he vernacular of Rome but will also help to make the building as environmentally friendly as possible.

PASSIVE STRATEGIES Solar radiation: This site has a lot of solar radiation along its southern facade, this is for all seasons within Rome. With the front and southern side of the project it is important to consider how this can be helpful with gaining energy from solar gain. This can be done through a Trombe wall or maybe even material that retains heat so the project can be heated throughout the day while also making sure that no one is getting too hot. Another element that will have a lot of solar gain would be the roofing system and this can also be made up of material that retains heat and helps to insulate the project. This is a tile roof that is typical within Rome, because Rome is so tightly packed, and areas are always being developed it is important to look at places to gain solar energy other than the southern facade. This is because if the lot to the south of the site every gets built we do not know what will be there. Solar orientation: This project is located at an angle because of how the site sits within Rome. This orientation still allows the project to gain a lot of solar radiation which can be taken and converted into energy. Further emphasizing the orientation this project also has an element that is slightly tilted to gain more solar gain throughout the day. The orientation of the front facade will have a lot of direct light in the afternoon as well as seeing the sunset.

LOCATION:

3D CHARTS

Latitude/Longitude: Data Source:

LEGEND

Natural ventilation: This project is a courtyard design that will have window to allow for air circulation. This is typical of Roman buildings to have a courtyard. It is also important to note the weather that Rome has and how it is not always sunny with a slight breeze. There are other weather conditions that make natural ventilation more difficult but for having windows it can be the placement of shutters or maybe even a screened in facade. But it must be considered that the windows need to open to allow for this type of air circulation.

RELATIVE HUMIDITY (percent) 0%

< 20

70%

25%

> 80

Storm water management: Since this project is a courtyard there are multiple options when looking at storm water management. Especially because Rome gets a decent amount of rain. The system could be a water fountain in the middle of the project that helps o cool the surround areas in the summer months or the water can be reproposed back down into the project for utility elements.

PLOT:

Not Shaded

RELATIVE HUMIDITY

Shaded

Rome, LZ, ITA

41.9° North, 12.483° E ISD-TMYx 162400 W

8:00 pm

12:00 pm

Outdoor Comfort Creating comfortable places for peopel to experience while visiting the Accadmia Filarmonica Romana.

5:00 pm

A3 DEVELOPMENT OF PRELIMINARY DES

SIGN

This was an excercise in better understanding why we are designing the way we are. It is begining to design with intention and making sure that everythiing is for a reason and if is not having the resources to back up out design decisions. Also starting to introduce more of a technical aspect when thinking abouut our design and focusing on how we are able to create a well rounded set of drawings were we are able to start to actual construct our projects. Startinig a more technical design process while still hoping to progress the design.

TECHNICAL RESEARCH :

CHAMBER MUSIC HALL When looking to design a chamber music hall it is important to understand all of what goes into the design. There are multiple different ways to approach this type of hall, but it is also important to understand the difference between a chamber music hall and a theater. Chamber music is focused on string and wind instruments as well as piano and maybe opera. This type of program has differing requirements as well as considerations that need to be had. It is the consideration of seating and how that effects the stage and those requirements, which in turn effects how an architect will need to approach the space acoustically. All of these come together to create an overall experience that a person could have within the Chamber Music Hall. There are overarching styles of theaters that begin to determine specific layouts within a concert hall. The first is a SHOEBOX it is a simple rectangular room with balconies. It is a simple design but if it is not designed correctly, it can have flutter echoes. This will need certain materials and the introduction of elements along the walls help to reduce the amount of flutter echoes. The next hall type is FAN SHAPED can accommodate large number of audience members while still having everyone face the performers. It is not prone to flutter echo because there are no parallel walls. Having the back of the hall be wider and more spacious this helps for the sound to not get trapped making the use of acoustical elements not as necessary. The last style is VINEYARD. This type has become very popular because of the relationships it begins to create with the audience and performers. The irregular nature of this type of concert hall helps to break up the sound to help avoid acoustical issues such as flutter echo’s and focusing. Starting with a general shape these three styles help to determine the seating arrangement and how the overall design of the theater can progress. SEATING CONFIGURATION TYPES: There are many different seating types that a Chamber Music Hall can have, this will determine how the space is then made up. The first seating layout that the space could be END STAGE, this is a seating arrangement where all the audience members are facing the stage in the same direction. Having everyone face the stage can cause problems with the relationships that people can have with the performers. This is because as more and more seats get added people are getting farther and farther away and are not able to feel as if they are one with the stage. The next seating arrangement that can be chosen is WIDE FAN. Wide fan is when all the seats are placed along 130-degree angle of inclusion, having this angle brings people closer to the performers ultimately bringing a more intimate experience with the performers. When looking to design in this way the consideration of how and where the focus of the stage and which way will be will people be facing. Next seating arrangement is ¾ ARENA. This type of seating configuration is based on

FRONTAL / SHOEBOX

CONSIDERATIONS Row Spacing 2’9” ft Sloped 7.1 Risers 13 Space per seat 7.4

THRUST

SURROUND

CONSIDERATIONS Row Spacing 4’0” ft Stage elevatin 12” Riser 12” Sloped 6.6 Space per seat 8.7

CONSIDERATIONS Row Spacing 3’0” ft Stage elevatin 2’6”” Riser 12” & 4” Sloped 6.6 Space per seat 11.1

180-270-degree angle of inclusion, having this type of arrangement helps with visual and audible connection between the audience and the performers. This type of seating arrangement allows the sound to carry in a more natural way leaving out no spaces within the hall. There are OTHER ways to consider seating types, it can be the combination of any of the types already stated or it could be 360-degree around the stage. This is just a matter of what works within the space and knowing what acoustical and mechanical considerations must be had with each seating configuration. STAGE CONFIGURATION TYPES: Though seating configuration types leans its way into how the stage will be set up there are still types fo stage configurations to accommodate look into. The first is FRONTAL (proscenium) this type of stage is usually deep or raked and sloped away from the audience. This normally has a frame surrounding the stage to help with the acoustics and projecting the sound. This type of stage creates almost like a movie quality for the audience to sit and enjoy. The next stage type is a THRUST stage this type is where the audience goes around and above the stage. This allows for an intimate experience between performers and the audience because no one has a bad view because the stage is not covered by walls. The final stage type is SURROUND this is when the audience can sit around the entire stage allowing for everyone to have a full view of what is happening. With a surround stage there are more issues with how the performers are to be set up and how the acoustics can be carried within the space.

83 FT

130 FT

STAGE GENERAL REQUIREMENTS: The stage within a chamber music hall on average should be 16-20 SF per musician, with a width of about 55’-80’ this will probably be closer to 50. The stage should be made up of mounted felt cushions under sleepers, variably spaced to dampen resonant vibration. Is under stage is unused the structural base can be ground slab. There is normally a soft reflective material that is used for the stage. Another consideration that needs to be had is the acoustical panels that can be used, risers if necessary and lighting.

130 FT

ACOUSTICAL CONSIDERATIONS: The consideration that needs to be had for acoustical needs are the forms of the hall, the volume per person and the type of performance. Shoebox auditoriums have strong early reflections which play a significant role in the acoustical quality. This creates a richness to the auditory experience for the audience. The narrow walls provide dynamic response to the music that is being played. This can be optimized by textured finishes and promoting reflections to all areas equally. This style limits the amount of people that can be within the theater, because as the theater gets larger it leads to more uneven sound distribution. Fan shaped auditoriums are typically not as great for an acoustical experience, they are better for actual experience. The wide nonparallel walls are reflected to the back of the hall rather than the audience. This is due to the

lateral reflections arriving later because of the distance between the walls. The fullness is normally limited due to lower ceiling and higher sound absorption because of the larger audience. Vineyard is the best shape for visual and audible interest, being so close to the stage there is direct sound for most of the audience. This type of shape project the sound directly to the listeners which is great but when the sound reflects to itself there is no lateral movement for the audience which gives the hall a lack of sense. Though the reflection throughout the space does give a fullness to the sound. Since the stage is directly in the center with this layout it causes the sound to not be distributed evenly, mostly because most instruments project their sound forward. Most of the issues with sound within a place can be enhance by sound reflectors around the auditorium and above the stage. Another way to eliminate sound reflection is by the addition of soft surface such as the chairs and curtains along the wall. With keeping a reverberation time of 2 seconds which is what a chamber music hall calls for the volume per person should be around 10 cubic meters. When resolving acoustical issues it needs to be considered who is performing, with strong instruments they resonate sound where as with wind instruments they are more direct with the sound that they are producing. Just as string instruments the piano resonate sound while a singer projects sound in one direction. So when trying to resolve the issue of reverberation within a theater all types of performance should be taken into consideration. LIGHTING REQUIREMENTS: Within a music hall there are many considerations when it comes to lighting. A hall needs WORKING LIGHTS, which is composed of rear entrance, stage, loft, and performance. Having 4-500w quartz lamps with toggle switches located both backstage right and left. These are the lights that are used for the staff, so they can work from day to day. These lights are a lower power source so that the hall because they are easy to maintain. These are the lights that will be always used when public is not in the hall. Another type of lighting system would be the HOUSE LIGHTS, these are the lights that are used in the concert hall before and after a performance, but never during a performance. This will be a strip of lights that is placed at 60 and 45 degrees from the stage, this light will be white light to not make shadows on the stage and provide an illumination rather than a harsh light. These will be surrounding the stage and pointed towards the stage. Then there will be recessed lighting that will cause a soft glow of light throughout the entire Hall. Having them placed along the rows that are being created. The house lights are composed of walkway downlights, tungsten roof, fluorescents. These lights are controlled by a two pushbutton control station, one will be located on stage left towards the corner near the access ladder. The main control panel is located at the back of the hall to the right of the stage. There are 124 controls for both the tungsten roof lights and walkway downlighters and the 125 controls for the fluorescent light. The last part of lighting is the PERFORMANCE LIGHTING. This is a lighting system that is directly focused on the stage, normally these lights are set

FRONTAL / SHOEBOX

THRUST

SURROUND

USING ACOUSTICAL PANELS TO LINE THE WALLS AND THE CEILING TO HELP WITH THE SOUND BOUNCING FROM WALL TO WALL.

USING ACOUSTICAL PANELS ABOVE STAGE AND ALONG WALLS TO HELP GUIDE THE SOUND WHILE ALSO HELPING WITH REVERBERATION IN THEATER

USING ACOUSTICAL PANELS TO LINE BACK WALLS OF THE THEATER AND DIRECTLY ABOVE STAGE TO HELP WITH EQUAL DISTRIBUTION

slightly upstage, so they are creating a wash of light rather than focused light. Lastly there are EMERGENCY LIGHTING this is composed of exit signs and lighting along the isles, so people know where and how to leave. Specifically for orchestra performance there are considerations that need to be had such as lighting the music, conductor, audience, the orchestra, and scores. Lighting the music for the performers is normally done by music stand lights, these are smaller rectangular lights that are on the top of the music stands. Making sure that the conductor is light so that the musicians can see is also important when setting up a lighting system. Placement of the conductor can change based on the layout of the orchestra, so it is making sure that no matter where they are it is taken into consideration. Lighting the audience for an orchestral performance is a light bit different than in the theater. The audience will need a soft low light to help them to better see the performers. When lighting the orchestra glare and shadows need to be taken into consideration. So, making sure that the lights that are being used are softer and allow for more of a glow than an intense downlight. Making sure that the angles are lower will help to make the ideal lighting set up for the performers. MECHANICAL SYSTEM REQUIREMENTS: Looking further into mechanical systems a chamber music hall should account for larger and smaller groups of people. While also maintain a good level of humidity because for the instruments to sound right having a super dry environment would not be ideal. As for mechanical system set up the best system would be going underneath the floor so there is no chance of dripping this will also allow for less rattling. Having airways underneath the seat will also allow for the hall to remain a solid temperature, with having them below the seats the air return vents would be at the top of the theater. The type of mechanical system has to be a configuration of smaller vents so there is less noise and will not interrupt the performances. TYPICAL WALL ASSEMBLY COMPOSITION’S: When designing typical wall assembly, it is important to look at how sounds can travel through the wall or doors. Music can be carried through a common wall when door is open the sounds will carry. There can be flanking below the wall through the floor, the sound can travel through ductwork. There are many things to consider when completing a wall within a chamber music hall.

FRONTAL / SHOEBOX

THRUST

SURROUND

Gypsum Board Layers

Concrete Wall

Insulation

Insulation Steel Channel Wood Acoustic Panels Fabric over PCF Fiberglass

Resilient Furring Channel

Clips

TECHNICAL RESEARCH:

VOLUME REQUIREMENTS: A=A B = 1.6A C= 2.6A

Arguably the most important part of designing for a rehearsal space is the room geometry. Yes, existing rooms with poor geometries can be adapted to perform better acoustically through different finishes. However, when the room is shaped with music in mind, the acoustical potential for the room will grow exponentially. The geometry of the room defines the quality of the music that is produced. When designing rehearsal spaces, architects should avoid using flat, parallel facing walls. If the finishes of these walls are sound reflective, this configuration can cause flutters and echoes, where sound bounces back at the musicians uncontrolled, creating an uneven mix of music. Designers should also avoid using concave shapes, such as curving walls, as this configuration will focus the music to one area in the room, creating a hot spot. The optimal configuration for walls and ceilings is splayed and angled surfaces. The angle of these surfaces help to prevent flutter and echoes while allowing the sound to better distribute throughout the room. When sizing rehearsal spaces, a good rule of thumb is each musician requires 30 square feet of floor space and vocalists require 15 square feet. This rule allows for both rehearsal and circulation space. The volume of the room is critical when designing rehearsal spaces for both orchestras and choirs. Small band rooms with low ceilings will be overly loud and reverberant, affecting the quality of the music. Higher ceilings help to control the sound of larger bands and allow the musicians to accurately hear their sound. Ideally, rehearsal spaces should have 550 – 700 cubic feet of volume per instrumentalist and 350 – 500 cubic feet per vocalist. At a minimum, rehearsal spaces require 400 cubic feet per musician and 300 per vocalist. In most cases, large music groups require at least 15 – 20 foot ceilings.

ROOM GEOMETRY: Individual Practice Room ≥8.5ft

1 - 2 People Small Ensemble Room

Flutter Echo

Splayed Reflective Walls

≥11.5ft

Rehearsal Rooms (Instruments) Ideally = 550FT3 - 700FT3 / musician Minimum = 400FT3 / musician Rehearsal Rooms (Choir) Ideally = 350FT3 - 500FT3 / vocalist Minimum = 300 FT3 / vocalist

3 - 12 People Large Ensemble Room

Traditionally, the most acoustically perfect room is one whose dimensions are based off of the golden ratio.

≥16.5ft

Noise Hotspot

Angled Reflective Ceiling

Up to 80 musicians or 80 vocalists

ACOUSTICAL FINISHES:

1) Wall Diffuser Panels on the upper and lower walls. 2) Hard surface prefered on floor for sound reflection. 3) Absorbtion Panels help to evenly distribute the sound. 4) Air space below the risers to maintain room volume. 5) Mix of diffusers and absorbtion panels for better sound quality.

1) Barrel Diffuser 2) Pyramid Diffuser 3) Absorbtion Panel 4) Wood Diffuser 5/6) Corner Absorbtion

Once the geometry of the room has been designed, or if the room is existing, acoustical finishes can be used to further refine the acoustical properties of the room. Ideally, every rehearsal space should have a mix of sound reflection, sound diffusion, and sound absorption. Mixing these acoustically strategies will help to create a well-balanced room. Sound reflecting materials help to direct the sound across the room, towards the conductor, and back to the musicians. This allows them to hear their own music in relation to the rest of the group. Because musicians’ sound is directed at different angles reflective materials have to be placed throughout the room. For trumpets, whose sound is directed forward, reflective materials are best placed on the walls. For woodwind instruments, such as clarinets, reflective materials are best placed on the ground, where the majority of their sound is directed. Because of this, rehearsal room floors should not be finished with carpeting or soft materials, as this would dampen the sound. Having solely sound reflecting surfaces in a rehearsal room will cause a big, booming effect and could result in an uneven distribution of sound. Sound diffusing devices and finishes help to scatter the sound throughout the room, creating a more even sound throughout the space. Additionally, sound diffusing surfaces help to reduce flutter and echoes in spaces that are not geometrically ideal. There are several different types of commonly used diffusers including barrel diffusers, pyramid diffusers, and wood block diffusers, all of which can be applied to either the ceiling or the wall. As with sound reflecting panels, sound diffusers should be placed throughout the space, on the upper and lower walls as well as the ceiling. Sound absorbing materials are incredibly important in rehearsal spaces. While sound reflecting and diffusing materials help to disperse the sound throughout the space, there may still be issues with the volume of the music or the geometry of the space. Sound absorbing materials can help to correct geometric issues in the space and reduce the amount of reverberation in the hall. Additionally, while reflection and diffusion panels help the control the higher and mid frequency sounds, absorption panels help to control the lower frequency bass sounds. Like with everything in acoustics, too much absorption material can cause the sound to be dull and flat.

SOUND ISOLATION:

VENTILATION ARRANGEMENT:

While the geometry and acoustic finishes focus on fine tuning the sound inside the room, designers should also consider the sound travelling outside of the room. In rehearsal spaces, ambient noise and other sounds can affect the tone of the music produced by the musicians. Ideally, designers should try to isolate rehearsal spaces from other noise producing spaces. POOR VENTILATION ARRANGEMENT Direct supply line allows sound to travel through all rooms

Rehearsal rooms and other practice rooms should not be placed next to each other, as the sound will travel through the walls and affect the surrounding rooms. In this case, the only way to isolate the sound would be through costly construction assemblies. Ideally, rehearsal and practice rooms should be separated by buffer zones or acoustically dead areas. This arrangement limits the amount of sound traveling between live music rooms, providing the sound isolation desired in these spaces.

GOOD VENTILATION ARRANGEMENT Acoustically lined supply branches prevent sounds from travelling between rooms

Another consideration is the mechanical equipment that the building requires. Every room requires ventilation; however tradition means of ventilation are not suitable for music spaces. Commonly, air supply ducts supply air to multiple rooms along a single duct. While this arrangement saves money, it allows sound to travel between the spaces which can affect the musicians in other rooms. One way to solve this issue is by using acoustically lined air supply branches off the main duct. This configuration would limit the amount of sound traveling between the rooms.

Mechanical units themselves also can cause acoustic issues. When in use, mechanical units emit vibrations and sound waves that can travel that can travel through the floor. For this reason, mechanical units are not usually placed directly above or below the rehearsal or musical spaces. In such cases that mechanical equipment has to be placed near the playing spaces, there are ways to mitigate the vibrations that travel through the structure. The most common way to isolate these vibrations is to mount the mechanical equipment on steel spring isolators. These springs absorb the vibrations of the equipment, much like the shocks on a car, and limit the level of noise transmitted through the structure.

SPATIAL ARRANGEMENT: 1) Poor Room Adjacencies 2) Correct Room Adjacencies POOR MECHANICAL SOUND ISOLATION: Vibrations and soundwaves travel through the structure.

Band Rehearsal Room Choir Rehearsal Room Small Practice Room Storage Room Office Space

GOOD MECHANICAL SOUND ISOLATION: Vibrations and soundwaves are isolated from the structure.

WALL ASSEMBLY OPTION 1: STC RATING: 60

WALL ASSEMBLY OPTION 2: STC RATING: 60

5/8” GYPSUM WALL BOARD (2) 3 5/8” STEEL STUDS @ 16” O.C. 3 1/2” FIBERGLASS BATT INSULATION 1” AIR SPACE 3 1/2” FIBERGLASS BATT INSULATION 3 5/8” STEEL STUDS @ 16” O.C. 5/8” GYPSUM WALL BOARD (2)

5/8” GYPSUM WALL BOARD GREEN GLUE SOUND MEMBRANE 5/8” GYPSUM WALL BOARD 3 5/8” STEEL STUDS @ 16” O.C. RESILIANT BARS @16 O.C. 3 5/8” STEEL STUDS @ 16” O.C. 3 1/2” FIBERGLASS BATT INSULATION 1” AIR SPACE LOAD BEARING BRICK WALL

5/8” GYPSUM WALL BOARD GREEN GLUE SOUND MEMBRANE 5/8” GYPSUM WALL BOARD 3 5/8” STEEL STUDS @ 16” O.C. RESILIANT BARS @16 O.C. 1 1/2” WOOD BATTENS @ 16” O.C. 1 1/2” FIBERGLASS BATT INSULATION LOAD BEARING CAVITY BRICK WALL

SECTION / PLAN : FLOOR 01

Circulation / Mechanical / Restroom Public Space Conservatory Office Maitenance

SECTION / PLAN : FLOOR 02

3D MASSING MODEL

Courtyards Around Site

Historical Connections

Location of Accademia

Developing around the Site

Connection to Villa Guilia Garden

Designing a Public Plaza

Projects Connection to the Site

SECTION : COURTYARD AND SPACES THAT IT IS DEFINING

First Floor

Second Floor

Third Floor

INTERNAL COURTYARD CREATED BY THE STRUCTURES

First Floor

Second Floor

Third Floor

Public Main Hall Maintenance Conservatory

13 14

02 03

03 19 02

19 07

09 09 09 17

First Floor Circulation

16 21

09 09

Second Floor Circulation

Third Floor Circulation

ACCESS DIAGRAM

Chamber Hall Entrance Maintenance Entrance Staff Entrance Conservatory Entrance Maintenance Entrance

FACADE STUDY 01

tub

FACADE STUDY 02

FACADE STUDY 03

ELEVATION : PUBLIC PLAZA / APPROACH TO PROJECT

establish a difference through materiality. Whether it be a printed pattern or maybe it is just a change in color there will and should be a way to differentiate what this space can be and what feeling it could have. Another detail that will make this project unique is its placement along the site and how it is addressing the street condition, not placing all the program at the street. “Plain” material in a way that can create depth while also still having small details that can be so telling of what the project is trying to convey. This is not a project that is focused on the architecture it is focused on creating an environment for the public and a place for people to be able to practice and listen to music. How can the materials and the details help to enhance this experience? With smaller details this project will add to the architecture that is within Rome with similar construction a thoughtful technique, but it will also question the typical vernacular and process that Rome has set in place. When finding the idea of what the facade of this project could be has been no small task, The project should fit within the site, but it also calls to have a civic presence. So, for right now itis plain and studies and drawings are being done to see what it can become. This will be carried through when looking into the environmental considerations, but it will also have to deal with the structural system that will be chosen for this project. The idea of having this project having a heavy presence has always been there so stone of some sort but I also think it is important to look at the punchy windows that Rome has. Taking inspiration from architects such as Patxi will help to see what windows can become and how they can begin to articulate space.

SECTION : AUDITORIUM

NORTH ELEVATION

8:00 pm

12:00 pm

Outdoor Comfort Creating comfortable places for peopel to experience while visiting the Accadmia Filarmonica Romana.

5:00 pm

PASSIVE STRATEGY DIAGRAM

COURTYARD FOR AIR CIRCULATION

SLOPED ROOF’S FOR RAIN CONTROL

COBBLESTONE FOR RAIN CONTORL

NEW DEVELOPEMENT FOR SHADING AND BOUNDARIES

A4 STRUCTURE

An exercise dedicated to the exploration of structure and how it can be used to influence a project though spatial layout and the facade. This is a crucial step in the overall understanding of the design process because this is where all ideas come together to create a cohesive design. This exploration of structure will start with two paths that will ultimately be narrowed down to one condition that helps reiterate principles of design as well create a sounder sense of place for the project. Going through multiple explorations will make sure that we are choosing the correct structural system for our project as well as helping us to see design through many lenses.

CONCEPT 1: LOAD-BEARING

The Exploration of Concrete Place, context, scale: This type of construction goes into the principle of place simply because the Romans used to use concrete as a way of constructing. Using examples of older construction techniques that have been used and looking too projects such as the colosseum and the Pantheon this can be seen. It is still common for most buildings even within the area to be constructed of concrete or some sort of stone so it is not just older construction it is all over, with this project will still fit within the typical vernacular of the site if made from some sort of stone. Space, character, atmosphere, identity: Building the structure in this way will allow the project to develop on a smaller scale level. Even though a concrete structure can be very heavy in its presence the placement of these load bearing walls will help to further define the spaces that are being created and establish relationships to what is outside of the building. This is due to the project having minimal structural elements along the outside wall allowing for more of a play on what the facade of the project could be. Organization, articulation: This construction will have structural walls placed along the path of the central courtyards in each space. This is because the courtyards are a way for the spaces to be further divided and having these heavy structures lining these moments will help to emphasize this. Specifically, on the second floor when the structure will break through center of corridors to further divide the program from breakout spaces. Tectonics, materiality, detail/hapticity: This concept will be looking at concrete to create a load-bearing structural system. Using examples and ideas from projects such as the parking garage by Herzog de Mueron and the Young Museum by them in San Francisco. Both structures show the use of simple elements that come are holding up a floor slab alleviating the facade of any sort of structure. The reason for choosing concrete is because of how the Romans used to build and the historical presence of the material throughout the city of Rome. Environmental stewardship: Using concrete is not the most environmentally friendly material but this type of material is good for places with seismic activity. Rome is an area where there is seismic activity so there is no point in looking for new ways to construct and finding new material when people know that this type can last. I think concrete will also allow for the project to look more into what material the facade can be allowing exploration of air flow throughout the space.

Columns that are around the courtyard, what could these be? Are they going to be thin placed every so often or will be they be large and placed less often.

CONCEPT 2: POST AND BEAM

The Exploration of Wood Place, context, scale: In the early years of building in Rome they used timber framing as their main source of construction. As time progressed so did the construction techniques that were being used, structures became half-timber construction beginning to introduce a building technique that was like concrete. For this reason, the exploration of a timber frame building was investigated. This will work in relation with buildings that are surrounding the site specifically because they are using a similar method of post and beam construction. This type of construction can begin to determine a modular system for the project ultimately leading it to work within the vernacular of the area. Space, character, atmosphere, identity: Using a wooden framing system will start to allow for a play on the different spaces within the project. Beginning to define areas based upon which way the glulam beams are heading. This can give different areas their own identity and further divide them from one another. Organization, articulation: Using a timber post and beam construction type allows for certain areas to be divided up either by direction of the beams or even the placement of where the columns are coming down. This can begin to break up the spaces and allow for differing movement within the project. These defining spaces will be those that are determined by the courtyards. Where there is a lobby space, or a place dedicated for people to catch up in that is when the beams will change direction. This begins to make me question of the structural stability of the project though and if this would even be possible or noticeable. Does it need to be more of a direct approach? what would the project look like with random columns throughout? Tectonics, materiality, detail/hapticity: The choice of material was simple because of how Rome used to construct and the types of construction they did with timber. It became a study on the material and its usage within Rome. Using a timber post and beam construction method can begin to give the project a very simple detail, whether it be through the ceiling systems that are used or maybe even the look of the walls. I think there is a lot that this project can do with this type of construction, and it can create specific moments that people can experience. Environmental stewardship: Timber is a great material when looking into the environmental factors of construction. The material can absorb carbon and ultimately be a better and healthier way of building within the area. Using a timber frame also begins to address concerns of seismic activity within the area.

CLT Planks spanning 10’

60 ft

Glulam Beams 36” Deep 12” Thick

Column Size: 6x6 Beam Size: 18” Deep

Starting to look at the sctructure sections. This will help with structural stablility as well as starting to define each individual element

FINAL CONCEPT

The Exploration of Rubble Wall Construction PRINCIPLES Place, context, scale: This type of construction goes into the principle of place simply because the Romans used to use concrete as a way of constructing. Using examples of older construction techniques that have been used and looking too projects such as the colosseum and the Pantheon this can be seen. It is still common for most buildings even within the area to be constructed of concrete or some sort of stone so it is not just older construction it is all over, with this project will still fit within the typical vernacular of the site if made from some sort of stone. This type of construction will not only fit into the Rome at a large city scale but will also begin to fit into what is already existing around the site. Though it is not heavy concrete and most of the project have more of an ornamented facade this project will still look like the others that it is surrounded by. They are all heavier in their construction. This project will be a more modern version with what is existing, with windows that are not placed in a modular fashion but rather placed with more care and intension. The structure will also be helpful when decided where these windows call to be. Space, character, atmosphere, identity: Building the structure in this way will allow the project to develop on a smaller scale level. Even though a concrete structure can be very heavy in its presence the placement of these load bearing walls will help to further define the spaces that are being created and establish relationships to what is outside of the building. This is due to the project having minimal structural elements along the outside wall allowing for more of a play on what the facade of the project could be. The identity of this project needs to be more civic with its presence. It will be a building for the public and having it look or fit into what the academia is as of right now will make it blend in. The structure needs to help create the spaces and help to make sure that this project does have its own identity. I believe the structure is the identity of the project alongside the courtyards. The structure is acting as an extension of the courtyards helping to establish more of a connection and relationship of all spaces to what is being created by the courtyard. Organization, articulation: Using the structure to divide up the space that are being created by the courtyard a little bit farther. All of these walls will start to articulate how each space is to be used and where certain areas such as the cafeteria start and where they stop. Having the construction in this way will also allow for the facade to be open in certain areas for more light to get into the space. Having lighter in certain areas will help to bring importance to the areas that are being used as a “hangout” to “breakout” spot within the

3” COLUMNS THAT HELP TO SUPPORT THE OVERHANG FOR THE CONCERT HALL SEATING

HOLEDECK hoXL WITH CUSTOM DIMENSIONS

6” COLUMNS EVERY 5’ SUPPORTING THE COURTYARDS

CAST IN PLACE CONCRETE SLAB

BASEMENT FLOOR

FIRST FLOOR

8.1 8.1

'-3

DOOR OPENING 36"

'-5

0'8"

'-5 29

8" 0'13

6.1

4.1

6'-

EDGE OF SLAB

6'-

EDGE OF SLAB

DOOR OPENING 36"

3.1

'-5

'11

EDGE OF SLAB

2.1

'-5

DOOR OPENING 72"

'-8 12

'-5

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

12 '-8 "

'-4

5.1

'-4

5.1 4.1

2.1

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

7.1

6.1

3.1

'-3

7.1

DOOR OPENING 36"

59'-11"

1.1

59'-11"

1.1

90°

DOOR OPENING 36"

DOOR OPENING 72" DOOR OPENING 72"

10'-11"

DOOR OPENING 36"

11'-4"

10'-11"

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

11'-4"

EDGE OF SLAB

5 21

'-3

" DOOR OPENING 36"

DOOR OPENING 36"

222'-0"

A.1

B.1

'-3

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

68'-4"

135°

2X2 STEEL COLUMN PLACED EVERY 5’ '-1

DOOR OPENING 36"

B.1

222'-0"

EDGE OF SLAB DOOR OPENING 36"

135°

'-1

CAST IN PLACE CONCRETE SLAB

C.1 EDGE OF SLAB

'-1

20'-0"

1'-

C.1 DOOR OPENING 72"

EDGE OF SLAB

29'-9"

'-6

20'-0"

DOOR OPENING 36"

1'-

E.1

'-7

F.1

'-2

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

DOOR OPENING 36"

G.1

2 °

EDGE OF SLAB

20'-6"

29'-9"

'-6

19 10

DOOR OPENING 36"

" '-7 EDGE OF SLAB

EDGE OF SLAB

G.1

20'-6"

F.1

E.1

'-2

D.1

'-1

D.1

2X2 STEEL COLUMN PLACED EVERY 5’

DOOR OPENING 36"

68'-4"

DOOR OPENING 36"

A.1

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

10'-6"

1 A

30'-2"

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

241'-6"

12'-9"

17'-2"

9'-11"

14'-7"

15'-7"

2X2 STEEL COLUMN PLACED EVERY 5’

10'-6"

241'-6"

SECOND FLOOR

THIRD FLOOR

6” DIAMETER COLUMN PLACED 5’ 0” FROM THE EDGE

6” DIAMETER COLUMN PLACED 5’ 0” FROM THE EDGE 8.1

8.1

'-3

7.1

4.1

'-4

5.1

'-5 "

0'8"

6.1

EDGE OF SLAB

6'-

ALL WALLS WILL BE 14" AND CLAY BLOCK CONSTRUCTION

4.1

EDGE OF SLAB

8 "

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

SOLID CONCRETE

DOOR OPENING 36"

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

10 2"

6'-

'-5

3.1

'-8

2.1

'-4

5.1 DOOR OPENING 36"

'-5

3.1

DOOR OPENING 36"

0'-

'-5

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

DOOR OPENING 36"

6.1

'-8

2.1

'-5

DOOR OPENING 72" DOOR OPENING 36"

1.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 72"

'-5

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

59'-11"

EDGE OF SLAB

DOOR OPENING 36"

1.1

EDGE OF SLAB

90°

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

DOOR OPENING 72"

SOLID CONCRETE

14” RUBBLE WALL 2X4 WOODEN BEAMS PLACED EVERY 5’ FOR STABILITY

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

10'-11"

90°

7 SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 72"

11'-4"

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

DOOR OPENING 36"

SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

EDGE OF SLAB

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

STEEL COLUMN 2" COLUMN PLACE EVERY 5'

EDGE OF SLAB

'-3

222'-0"

SOLID CONCRETE

68'-4"

DOOR OPENING 36"

B.1 135°

2X2 STEEL COLUMN PLACED EVERY 5’

A.1

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

'-1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-3

2X2 STEEL COLUMN PLACED EVERY 5’

EDGE OF SLAB

DOOR OPENING 36" HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

B.1

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

C.1 1"

'-1

EDGE OF SLAB

DOOR OPENING 120"

'-1

20'-0"

1'-

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

DOOR OPENING 36"

'-2

EDGE OF SLAB

C.1

HOLEDECK HoXL CUSTOM SIZED FLOORING LARGEST SPAN 60’ ONE WAY SLAB 40

'-1

1'-

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

29'-9"

'-6

E.1

2X2 STEEL COLUMN PLACED EVERY 5’

SOLID CONCRETE

D.1

'-7

F.1

STEEL COLUMN 2" COLUMN PLACE EVERY 2.5'

D.1

E.1

'-6

20'-6"

EDGE OF SLAB

SOLID CONCRETE

HOLEDECK XL IN CUSTOM SIZES 24" THICK FOR WHOLE BUILDING

'-2

EDGE OF SLAB

G.1

A.1

EDGE OF SLAB

'-7

10 "

F.1

G.1 30'-2"

2X2 STEEL COLUMN PLACED EVERY 5’

39'-11"

18'-10"

11'-9"

29'-11"

30'-5"

12'-9"

17'-2"

241'-6"

HOLEDECK HoXL CUSTOM SIZED FLOORING LARGEST SPAN 60’ ONE WAY SPAN

9'-11"

14'-7"

15'-7"

10'-6"

3D STRUCTURAL AXON

A5 ENVELOPE SKETCH DONE BY ROBERTO VIOLA OCHOA

This is an assignment that begins to break our own preconceptions on the project. It is challenging us to think of our buildings in different ways becuase noramlly when we are sitting down to complete a project we find a solution and run with it. Doing this we begin to close outsellves off to the possibiltiees that the project could have. There is alwasy unseen potential that is being missed out on by not exploring in different manners. By doing this we have the ability to see if a heavier or ligther construction works best. We begin to work towards a more solid though process of design and breaking out of what we are comfrotbale with. It is an assignment that is supposed to make us question what the envelope could be? or more so what it calls to be.

CONCEPT 1: MASSIVE CONSTRUCTION

A BRICK SCREEN FACADE When looking into massive construction designing a project that seemed heavy, with the type of construction that was choosen the project already appears heavy. The continuation of ths type of construction will be done through creating a brick screen that will allow ariflow through curtain wall as well as allowing people to see how the project is constructed. PRINCIPLES Place, contect, scale: Using the ideas that were establshed early on in the project os constructing based upon old roman construction techniques the construction of this project will be no different. Using a brick facade and clay block construction allows for the project to be rooted within the kandscape of Rome. The scale of the brick would be that of a typical brick giving this project a modern take on typical Roman construction. Space, character,atmosphere, identity: Having this project be massive construction it gives a civic presence to the project. Rooting it deeper into the context that Rome already has. The identity of the project will become something of permenance within Rome and become a staple of the Accademia Philarmonica Romana. Establishing an iderntity for the accademia is important because right now they are just another project but givign them an indentity so the public knows that they are there and available to experince. Organization, articulation: Tectonics, materiality, detail/hapticity: Environmental stewardship: Using brick as a material on the facade will add an addtion layer of insulation. This will help to keep the project at a normally temperature and reduce the amount of mechanical power needed. Having the brick in a staggered pattern will allow for air flow through the facade into the space. The curtain wall that is behind where the structural load bear walls are not, will have momenet for air to enter the space.

https://www.cityofrochester.gov/greenroof/

-METAL FLASHING TYPICAL ROOF ASSEMBLY -WATERPROOFING -3” INSULATION -3/4”SHEATHING -VAPOR BARRIER -HOLEDECK XL TYPICAL CEILING ASSEMBLY -HOLEDECK XL -MECHANICAL AND ACOUSITCAL PROPERTIES WITHIN THE CONSTRUCTION OF SLAB HOLEDECK XL TYPICAL CLAY BLOCK WALL ASSEMBLY -BRICK VENEER (TYPICAL BRICK) -2” GROUT -STEEL CLIPS -8”x12” CLAY BLOCK -1/2” GROUT -8”x12” CLAY BLOCK -Z CLIPS -2” PLASTER REBAR & TIES TYPICAL SLAB ON GRADE ASSEMBLY -3/4” WOOD FINISH -2x4” WOOD STEPPERS -4” CONCRETE SLAB -6” GRAVEL -RAMMED EARTH

-1/20’ SLOPE TYPICAL OUTDOOR PATIO ASSEMBLY -4X4 STONE TILES -1/2” GROUT -6” GRAVEL -RAMMED EARTH

TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -CAST IN PLACE CONCRETE FOOTING

FINISH

INSULATION

WATER BARRIER

MOISTURE CONTROL

3D ASSEMBLY

CONCEPT 2: LIGHTWEIGHT CONSTRUCTION

-METAL FLASHING TYPICAL ROOF ASSEMBLY -WATERPROOFING -3” INSULATION -3/4”SHEATHING -VAPOR BARRIER -HOLEDECK XL TYPICAL CEILING ASSEMBLY -HOLEDECK XL -MECHANICAL AND ACOUSITCAL PROPERTIES WITHIN THE CONSTRUCTION OF SLAB HOLEDECK XL TYPICAL CLAY BLOCK WALL ASSEMBLY -WATERPROOF BARRIER -3” INSULATION -VAPOR BARRIER -14” CAST IN PLACE CONCRETE -Z CLIPS -2” PLASTER SAMBESI METAL FABRIC GKD METAL FABRICS WIB EYEBOLTS TOP AND BOTTOM TYPICAL SLAB ON GRADE ASSEMBLY -3/4” WOOD FINISH -2x4” WOOD STEPPERS -4” CONCRETE SLAB -6” GRAVEL -RAMMED EARTH -1/20’ SLOPE TYPICAL OUTDOOR PATIO ASSEMBLY -4X4 STONE TILES -1/2” GROUT -6” GRAVEL -RAMMED EARTH

TYPICAL BELOW GRADE WALL ASSEMBLY -RAMMED EARTH -WATERPROOFING MEMBRANE -4” DRAINAGE PIPE -INSULATION -CAST IN PLACE CONCRETE FOOTING

FINISH

INSULATION

WATER BARRIER

MOISTURE CONTROL

3D ASSEMBLY

LARGE REHEARSAL

N AI M L

H E

G TA

/S BA

G TA

IN E

O ST

LOCKER ROOM

LAUNDRY

LOCKER ROOM

BAR

LOBBY

CHOIR REHEARSAL ROOM

KITCHEN / KITCHEN STORAGE

FIRST FLOOR

CAFETERIA

TRASH

MAIN. STORAGE

STAFF LOUNGE

RECORDING STUDIO

DANCE REHEARSAL ROOM

N AI M L

DANCE REHEARSAL ROOM

G TA

/S IT

INSTRUMENT STORAGE

Y AR

SE L

INSTRUMENT STORAGE

OFFICE SPACE STORAGE (8) SMALL REHEARSAL ROOMS

MEETING ROOM STAFF LOUNGE

SECOND FLOOR

N AI M

AL H

E G TA

Y AR

THIRD FLOOR